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SEYMOUR  DURST 


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FORT  TRYON  HALL 


The  Patio 


FORT  TRYON  HALL 

THE  RESIDENCE  OF 
C.K.  G.BILLINGS,  ESQ. 


A  DESCRIPTIVE  AND  ILLUSTRATED 

CATALOGUE 
ISSUED  PRIVATELY  BY  THE  OWNER 


WASHINGTON  HEIGHTS 
NEW  YORK 
1911 


COPYRIGHT,  191 1,   BY  C.  K.  G.  BILLINGS 
ALL   RIGHTS  RESERVED 


FORT  TRYON  HALL 

DESCRIBED  BY 

BAEE  FEREEE 


Main  Entrance  to  Fort  Try  on  Hall 


I 


f 


I 

I 


FORT  TRYON  HALL 


I 

The  first  half-year  following  the  American  Declaration  of  Independence  was 
crowded  with  momentous  events.  Critical  incidents  occurred  at  every  stage 
of  the  prolonged  conflict,  but  the  catastrophes  of  this  time  threw  their  shadow 
across  the  whole  period  of  the  war,  and  are  still  ranked  as  matters  of  the  first 
importance.  The  control  of  the  Hudson  River  was  rightly  regarded  by  both 
parties  as  essential  to  ultimate  success,  and  the  American  plans  for  defending 
it  had  been  discussed  as  early  as  September,  1775. 

The  most  important  fortification  of  the  northern  part  of  Manhattan  Island 
was  Fort  Washington,  which  occupied  a  lofty  and  commanding  situation  in  the 
neighborhood  of  183rd  Street  and  Fort  Washington  Avenue.  Its  most  north- 
erly outwork  was  a  two-gun  redoubt  between  195th  and  198th  Streets,  to 
which  the  name  of  Fort  Tryon  was  afterwards  given.  Still  further  north  was 
Cock  Hill  Fort,  overlooking  the  mouth  of  Spuyten  Duyvil  Creek.  Beyond 
Spuyten  Duyvil,  and  continuing  along  the  opposite  side  of  the  Harlem  River, 
was  a  series  of  fortifications  known  as  Forts  Number  1,  2,  3,  4  (Fort  Inde- 
pendence), 5,  6,  7,  and  8;  Fort  George  occupied  the  summit  of  Laurel  Hill, 
almost  on  a  line  with  Fort  Tryon. 

On  November  15,  1776,  General  Howe,  in  command  of  the  British  forces, 
demanded  the  surrender  of  Fort  Washington.  It  was  commanded  by  Colonel 
Robert  Magaw,  who  replied  that  he  would  defend  it  to  the  last  extremity. 
Preparations  were  immediately  made  for  an  attack.  Colonel  Magaw  directed 
proceedings  from  his  central  position  at  Fort  Washington;  Colonel  Rawlings 
occupied  Fort  Tryon  and  Cock  Hill  Fort;  Colonel  Baxter  was  at  Fort  George; 
and  Colonel  Cadwalader  occupied  the  lines  facing  towards  Harlem. 

The  conflict  at  and  around  Fort  Washington  on  November  16  was  one  of 
the  most  important  in  the  Revolution.  Washington  had  long  foreseen  the  in- 
advisability  of  holding  the  place  and  had  recommended  that  it  be  abandoned. 
Ably  defended  as  it  was,  its  reduction  was  inevitable,  yet  its  capture  was  a 


crushing  blow  to  the  American  forces,  and  placed  the  city  of  New  York  com- 
pletely in  the  hands  of  the  British  until  the  evacuation  at  the  close  of  the 
contest. 

Of  the  individual  incidents  of  the  defense  nothing  more  heroic  has  survived 
than  the  story  of  Margaret  Corbin  at  Fort  Tryon.  Her  husband,  John  Corbin, 
was  a  Pennsjdvanian  and  one  of  the  few  artillerymen  who  were  designated 
to  handle  the  guns  at  that  Fort.  It  was  a  time  for  action,  without  regard  for 
self-preservation.  The  Hessians  of  the  enemy  were  climbing  the  hill,  un- 
daunted by  their  previous  repulse  by  the  handful  of  defenders.  Every  avail- 
able pair  of  hands  was  needed.  So  Margaret  Corbin  cleaned  her  husband's 
gun;  loaded  it,  too;  and  helped  as  a  man  might,  bravely,  fearlessly.  A  stray 
ball  struck  him  in  the  breast,  and  he  fell  dead  at  her  feet.  Yet  she  did  not 
falter  in  her  heroic  task,  but  took  her  husband's  place  at  the  gun,  firing  it 
herself  until,  stricken  by  the  enemy,  she  also  fell,  terribly  mutilated,  a  self- 
sacrifice  to  patriotism. 

Fort  Tryon  passed  into  the  hands  of  the  British,  and  its  defenders  took 
rank  with  the  noble  army  of  martyrs  who  did  so  much  for  the  cause  of  Ameri- 
can heroism.  Its  site  is  within  the  property  owned  by  Mr.  Billings,  and  on 
the  summit  of  a  portion  of  the  redoubt  that  is  still  standing  he  has  erected 
a  lofty  flag-pole,  where  the  flag  of  his  country  and  of  Margaret  Corbin's  is 
daily  displayed.  During  the  Hudson-Fulton  Celebration  of  1909  a  tablet  of 
bronze  was  affixed  to  the  hillside  below  the  redoubt  adequately  recounting 
the  work  to  which  Margaret  Corbin  gave  her  life.  The  inscription  is  as  follows : 


Site  of  Old  Fort  Tryon 


1 


me  1909 

HUDSON 
FULTON 
CELEBRATION 
COMMISSION 


ON  THIS   HILL-TOP  STOOD 
FORT  TRYON 
THE  NORTHERN  OUT-WORK  OF 

FORT  WASHINGTON 
ITS  GALLANT  DEFENSE  AGAINST 
THE  HESSIAN  TROOPS 
BY 

THE  MARYLAND  AND  VIRGINIA 
REGIMENT 
16  NOVEMBER,  1776 
WAS  SHARED  BY 
MARGARET  CORBIN 
THE  FIRST  AMERICAN  WOMAN 
TO  TAKE  A  soldier's  PART 
IN  THE  WAR  FOR  LIBERTY 

ERECTED  UNDER  THE  AUSPICES  OF 
THE  AMERICAN  SCENIC  AND  HISTORIC 
PRESERVATION  SOCIETY 
THROUGH  THE  GENEROSITY  OF 
C.  K.  G.  BILLINGS 


II 


"Fort  Tryon  Hall,"  the  splendid  property  of  C.  K.  G.  Billings,  Esq.,  com- 
prises an  area  of  about  twenty -five  acres  in  the  northern  part  of  Manhattan 
Island,  lying  between  Broadway  and  Riverside  Drive,  and  193rd  and  198th 
Streets.  Its  name  is  derived  from  the  historic  redoubt  immortalized  by  the 
heroic  defense  of  Margaret  Corbin,  which  was  called  Fort  Tryon  by  the  British 
after  the  capture  of  Fort  Washington,  in  honor  of  William  Tryon,  the  last 
royal  governor  of  New  York. 

Here  Mr.  Billings  has  created  an  estate  of  true  rural  character  and  form, 
that  is  part  and  parcel  of  the  metropolis.  Probably  nowhere  else  in  the  United 
States  is  a  tract  of  city  property  so  remarkable  in  itself  and  so  remarkably 
located.  It  comprises  land  high  and  low,  deep  ravines  and  a  broad  plateau. 
No  rural  district  is  more  varied  in  its  surface  than  this,  which  directly  over- 
looks the  Hudson  River,  Broadway,  the  Harlem  River,  and  Long  Island 
Sound,  and  most  of  which  is  so  loftily  elevated  as  to  seem  quite  beyond  the 
reach  of  the  unifying  invasion  of  the  city  map.  Here,  within  a  few  years,  there 
has  been  brought  to  a  rich  flower  of  maturity  a  genuine  country  estate,  where 
the  real  life  of  the  countryside  has  been  developed  in  all  its  activities  within 
city  limits. 

From  the  lofty  summit  of  the  Observation  Room  in  the  tower  of  the 
Mansion  a  noble  panorama  unveils  itself  on  every  side.  Far  below,  to  the 
west,  flow  the  placid  waters  of  the  Hudson,  its  fair  surface  shadowed  by  the 
frowning  rocks  of  New  Jersey's  Palisades  that  so  effectively  shut  out  darkest 
Bergen  from  the  outer  world.  Below  is  Fort  Lee,  and  from  the  Palisades  at 
"Indian  Head"  W^ashington  viewed  the  reduction  of  the  fort  which  bore  his 
name.  Above,  the  eye  may  see  the  very  end  of  the  Palisades  in  the  State  of 
New  York.  To  the  north  are  Inwood  Heights,  where  stood  Cock  Hill  Fort, 
and  beyond,  above  the  Spuyten  Duyvil  Creek,  was  Fort  Number  1  and  its 
conspicuous  fortifications.  On  the  east  one  looks  across  a  profound  valley 
to  the  sister  summit  Laurel  Hill,  occupied  by  Fort  George;  the  Harlem  River 
lies  below,  and  beyond  it  are  the  sites  of  Forts  Number  5,  6,  7,  and  8;  Long 


Reception  Room 


South  End  of  Living  Room 


1 


I 


North  End  of  Living  Room 


Island  Sound  is  in  the  remote  distance.  Still  more  distinctly  to  the  south  the 
city's  proudest  beacon,  the  Metropolitan  Tower,  lifts  its  high  head  above  all 
other  structures.  Almost  below  one's  feet  Broadway  continues  its  masterful 
march  to  the  north;  and  further  off  the  Subway  emerges  from  the  ground  in 
its  search  for  an  aerial  terminus. 

Here,  on  the  very  summit  of  New  York,  the  crown  and  climax  of  the 
city,  Mr.  Billings  has  built  his  home  and  created  his  estate.  The  highest 
point  of  Manhattan  Island  is  but  a  short  distance  below  the  entrance  to  the 
house  grounds.  The  dip  in  the  road  is  slight,  and  it  rises  again  at  the  Lodge 
which  overhangs  the  cliffs,  above  the  Hudson.  Then,  at  the  apex  of  New 
York,  is  a  tableland,  the  most  considerable  level  spot  in  the  estate,  where  a 
serene  Mansion  lifts  its  gray  walls  in  the  brilliant  sunlight.  A  spacious  lawn 
lies  before  it,  with  a  driveway  on  each  side,  outbordered  with  thick  cloaks  of 
shrubbery.  At  the  entrance,  screening  the  end  of  the  lawn,  is  a  pergola,  whose 
open  latticed  windows  look  down,  as  most  windows  here  look  down,  upon  the 
ravines  and  tree-tops. 


Ill 


The  Mansion  is  a  graceful  and  picturesque  structure,  built  of  brick  and 
stucco,  granite-based,  gray-walled,  white-trimmed,  with  a  delightful  variety 
of  shingled  roofs  that  really  cover  the  building;  loftily  pitched  and  varied, 
with  a  variety  that  has  direct  relationship  with  the  architectural  parts  below. 
White  dormers  light  it,  and  the  windows  of  the  lower  walls  are,  for  the  most 
part,  decked  with  carved  festoons.  It  is  a  matter  of  history  that  the  Mansion 
began  with  the  high  tower  on  the  west  that  now  seems  its  centre.  It  was  the 
part  first  built,  and  was  used  by  Mr.  Billings  for  week-ends  and  other  vaca- 
tions in  the  days  when  driving  blooded  horses  on  the  Speedway  commanded 
more  of  his  time  than  at  present. 

Thus  he  learned  to  love  and  appreciate  the  place  and  its  possibilities  as  a 
residential  site;  and  finally,  under  the  competent  direction  of  Mr.  Guy  Lowell 
the  architect,  of  Boston,  the  Mansion  came  into  being.  But  as  Mr.  Lowell 
was  the  architect  of  the  tower  as  well  as  of  the  whole  house,  there  is  no  sug- 
gestion of  difference  of  date  or  purpose  in  any  part.  The  Swimming  Pool  and 
Stable  were  also  designed  by  him,  as  well  as  the  beautiful  grounds  with  their 
fine  adaptability  to  landscape  gardening.  Mr.  P.  W.  French,  of  New  York, 
supervised  the  furnishings  and  interior  decorations. 

A  porte-cochere  spans  the  drive  at  the  main  entrance  of  the  Mansion.  The 
doors  are  handsome  wrought  iron  grilles,  lined  with  heavy  plate  glass.  They 
open  into  a  vestibule,  walled  with  Caen  stone  and  with  an  arch  at  each  end 
below  which  is  a  bronze  Japanese  lantern.  The  steps  to  the  main  floor  are 
Istrian  marble  within  a  wainscot  of  Siena  marble,  and  on  the  left  is  the 
stairway  to  the  second  story,  provided  with  a  wrought-iron  hand  rail.  A 
Louis  XVI  lantern  depends  from  the  ceiling  immediately  above  the  entrance 
steps. 

The  Hall  is  paneled  with  English  oak  and  has  a  ceiling  of  white  plaster  with 
a  richly  ornamented  circle.  The  floor  is  white  marble,  with  a  border  of  Siena 
marble  that  also  serves  as  a  base  for  the  wood  paneling.  The  Oriental  rugs  are 


Dining  Room 


I 


Breakfast  Room 


I 

r 

i 


of  rich  dark  colors.  The  furniture  includes  two  marble  consoles  whose  carved 
legs  support  slabs  of  green  marble,  and  a  couple  of  red  velvet  arm-chairs, 
trimmed  with  gold.  Here  also  are  three  grand  old  Chinese  blue  and  white 
vases  on  carved  wood  pedestals.  Here,  too,  the  visitor  meets  with  the  first 
of  Mr.  Billings's  collection  of  paintings,  which  are  distributed  throughout  the 
Mansion  as  decorations  for  the  more  important  rooms.  Electric  lights,  as 
elsewhere  in  this  story,  are  provided  by  bronze  side  fixtures.  Right  and  left 
is  a  recess  in  which  is  the  door  to  the  adjoining  apartment;  on  the  left  the 
Drawing  Room;  on  the  right  the  Living  Room.  There  is  a  similar  recess  im- 
mediately in  face,  but  here  the  paneling  gives  way  to  glass,  and  glazed  doors 
admit  to  the  Patio. 

The  Patio  is  the  centre  of  the  Mansion  in  an  artistic  as  well  as  an  archi- 
tectural sense.  It  is,  as  its  name  implies,  the  central  court.  It  is  two  stories 
in  height,  is  walled  throughout  with  Caen  stone,  and  has  a  glazed  roof.  Just 
below  the  glass  is  an  immense  canvas  awning,  painted  with  the  pattern  and  in 
the  colors  of  an  Oriental  rug,  a  splendid  piece  of  decorative  coloring  that 
relieves  the  glare  and  modulates  the  light  in  a  very  charming  manner. 

Two  series  of  projecting  sloping  beams  mark  the  summits  of  the  two  stories 
and  give  a  pergola-like  effect  to  the  side  walls.  The  lower  series  is  supported 
by  decorated  brackets  resting  on  delicately  carved  corbels  ornamented  with 
small  figures.  The  doorways  to  the  adjoining  apartments  are  glazed;  for  surely 
every  opportunity  will  be  availed  of  both  to  come  into  this  delightful  place, 
as  well  as  to  look  into  it.  Above  are  windows  of  the  second  story,  some  open- 
ing into  the  corridors  that  bound  two  sides;  the  others  into  the  adjoining 
rooms.  Beneath  the  windows,  and  in  the  corners  at  the  same  level,  are  flower 
boxes,  filled  with  blooming  plants  and  vines;  and  between  each  of  them  is  a 
red  and  gold  electrolier  of  carved  wood,  a  minor  decoration  that  is  wonder- > 
fully  effective  against  the  cool  background  of  the  walls.  The  floor  is  white 
and  green  marble,  on  which  are  fine  Oriental  rugs  and  some  superb  animal 
skins;  and  in  the  centre  is  a  fountain,  modeled  after  that  in  the  Palazzo 
Vecchio  in  Florence,  a  marble  basin  with  a  bronze  reproduction  of  Andrea 
Verrocchio's  charming  boy  struggling  with  a  dolphin. 

The  architectural  qualities  of  the  Patio  are,  therefore,  of  a  high  order  of 
merit.  The  whole  conception  has  been  carried  out  in  a  very  fine  way,  and  the 
court  is  a  space  of  exceeding  and  penetrating  charm.  Among  its  many  pieces 


of  furniture  the  most  interesting  is  a  group  of  chairs  and  sofa  covered  with 
tapestry  of  the  sixteenth  century,  woven  by  Wilhelm  Pannemaker.  The 
coverings  of  these  pieces  were  the  borders  of  two  tapestries  by  this  weaver  and 
constitute  a  unique  set  of  their  kind.  In  one  corner  is  a  console  for  the  great 
organ  of  the  Living  Room,  the  echo  organ  being  above  in  the  Patio.  On  each 
side  of  one  door  is  a  great  Itahan  bronze  torchere,  and  in  two  corners  is  a  pair 
of  antique  gilded  lanterns.  The  chief  art  treasures  here,  however,  are  the 
tapestries  suspended  against  the  walls  at  the  corners,  notable  pieces,  each  of 
them,  that  yield  a  rich  note  of  color  precisely  where  it  gives  most  value,  and 
which  are  finely  displayed  in  the  historic  way  against  walls  of  stone. 

They  represent  some  of  the  most  notable  schools  of  tapestry  weaving. 
There  are  two  Flemish  tapestries  having  as  their  subjects  "Verdure,"  with 
columns  forming  side  borders;  they  were  woven  by  Gerard  Van  den  Stricken 
about  the  middle  of  the  seventeenth  century.  Another  is  a  Flemish  tapestry 
of  the  first  quarter  of  the  same  century  representing  a  ship  scene.  Another, 
dating  from  the  first  quarter  of  the  eighteenth  century,  presents  "Knights 
Fighting."  Another  Flemish  tapestry  of  the  close  of  the  seventeenth  century 
represents  the  "Goddess  Flora  and  her  Maids."  A  large  Gobelin  tapestry 
presents  "Jacob  demanding  permission  of  Laban  to  return  to  his  own  Coun- 
try," and  was  woven  during  the  early  part  of  the  reign  of  Louis  XVI  after 
a  cartoon  of  an  earlier  date.  The  most  precious  of  all  is  a  Gobelin  fragment 
designed  by  Charles  Le  Brun  and  pictures  "Alexander  entering  Babylon"; 
its  colors  are  astonishingly  fresh  and  brilliant. 

The  Living  Room  occupies  the  larger  part  of  the  Mansion  overlooking  the 
lawn  adjoining  Fort  Washington  Avenue.  It  is  a  large  room,  beautifully  pro- 
portioned and  decorated.  It  has  three  windows  on  the  side,  and  one  on  the 
front,  all  reaching  to  the  floor  and  opening  on  to  small  outer  balconies,  each 
provided  with  a  light  wrought  iron  railing.  The  French  walnut  wainscot  has 
double  pilasters  with  decorated  Ionic  capitals  between  each  panel.  At  the 
further  end  the  panels  on  each  side  of  the  fireplace  are  open  to  display  the 
gilded  pipes  of  the  ^Eolian  organ,  while  other  pipes  near  the  centre  of  the  room 
are  behind  a  carved  wood  grille  of  fleur-de-lis.  At  the  front  the  lower  part 
of  the  wainscoting  is  filled  with  built-in  bookcases.  The  ceiling  is  white  plaster, 
with  a  rich  border  in  low  relief,  supported  by  the  carved  cornice  of  the  wain- 
scot. The  floor  is  hard  wood,  on  which  are  splendid  Kirmanshah  rugs  of  un- 
usual beauty,  and  some  rare  skins. 


I 


I 


The  mantel  is  Alps  green  marble  with  elaborately  modeled  Italian  bronze 
andirons,  surmounted  with  cupids.  The  over-mantel  is  a  wood  panel  on  which 
is  hung  the  painting  "In  the  Forest  of  Fontainebleau "  by  Ch.  Jacque,  while 
other  notable  paintings  hang  against  the  side  panels.  The  furniture,  while 
rich,  has  been  arranged  for  the  exceeding  comfort  that  one  early  learns  to 
recognize  as  characteristic  of  this  charming  home;  the  window  curtains  of 
green  and  white  Venetian  velvet  give  color  to  the  walls. 

A  corridor-like  passage  in  the  Hall  leads  to  a  small  circular  room  immediately 
adjoining  the  entrance  doorway.  It  is  paneled  in  English  oak  to  the  ceiling, 
where  a  richly  carved  cornice  supports  the  plain  white  plaster.  The  floor  has 
a  two-toned  blue  carpet,  and  the  furniture,  William  and  Mary  period,  is 
covered  with  blue  velvet  with  silk  embroidery. 

The  Drawing  Room  is  a  beautiful  apartment  designed  in  the  Louis  XVI 
style.  It  is  paneled  throughout  in  gold  and  white,  with  a  painted  ceiling 
of  "Venus  and  Mercury"  and  panels  after  Boucher  above  the  doors  to  the 
Dining  Room,  on  either  side  of  the  mantel.  The  long  narrow  panels  of  the 
wainscoting  are  decorated  with  gold  ornaments  in  relief,  each  with  a  plain 
white  figure  panel  below,  while  the  large  panels  are  lined  with  white  silk 
damask.  Over  the  entrance  door  is  a  monotone  panel  of  "Gifts  to  Love." 
The  floor  is  hard  wood,  covered  with  a  beautiful  Aubusson  rug  in  light  colors 
in  harmony  with  the  prevailing  tones  of  the  room.  The  mantel  is  white 
Carrara  marble,  finely  carved,  with  wrought  iron  facing  and  white  marble 
hearth;  the  andirons  are  ormolu  and  blue  enamel;  the  window  curtains  are 
white  lace  with  inner  curtains  of  silver  and  rose  brocade.  The  furniture  is 
gilt,  with  all-silk  tapestry,  and  includes,  among  other  interesting  pieces,  a 
cabinet  containing  a  beautiful  collection  of  old  fans;  a  writing  table  with 
Sevres  panels;  and  a  commode  of  the  Louis  XVI  period  in  ormolu  and  violet 
wood. 

The  Dining  Room  adjoins  the  Drawing  Room  and,  like  it,  overlooks  the 
Hudson.  It  is  paneled  to  the  ceiling  in  mahogany,  finished  in  its  natural 
grain.  The  ceiling  is  plain  white  plaster,  with  a  cover  between  the  border 
decoration  and  the  wainscot  cornice.  The  floor  is  hard  wood,  the  larger  por- 
tion of  which  is  covered  with  an  immense  Tabriz  rug.  It  is  lighted  by  a  bay 
window,  at  the  opening  of  which  are  two  Ionic  columns.  The  mantel  is  carved 
wood,  with  red  and  white  marble  facing  and  hearth,  and  bronze  andirons. 


The  furniture  is  mahogany  in  the  Louis  XVI  style,  with  blue  leather  seats  and 
cane  backs  with  blue  leather  lambrekins.  On  a  marble  top  gilt  table  in  the  bay 
window  is  kept  the  Gold  Cup  of  the  Gentlemen's  Driving  Club  of  Cleveland, 
Ohio,  a  much  prized  trophy  now  belonging  to  Mr.  Billings. 

The  art  treasures  of  this  room  include  some  of  Mr.  Billings's  finest  paintings, 
and  the  choicest  specimens  of  his  collection  of  old  Chinese  blue  and  white 
porcelain.  The  color  scheme  has  thus  been  worked  out  very  skillfully,  for  the 
blue  note  that  dominates  the  room  is  derived  from  the  objects  in  it. 

The  Breakfast  Room  occupies  the  base  of  the  tower,  and  is  a  small  octagonal 
apartment  of  most  delightful  charm.  The  ceiling  has  been  given  a  dome-like 
character  by  a  deep  cove,  in  which  the  rounded  summits  of  the  doors  and  win- 
dows cut  lunettes.  All  these  openings  are  surmounted  with  decorated  panels 
in  relief.  The  room  is  treated  throughout  with  white  enamel  paint,  the  wain- 
scot being  hand  carved,  finished  with  a  frieze.  Between  the  windows  are  built- 
in  closets,  the  closed  lower  doors  forming  part  of  the  wainscot  while  the  upper 
are  glazed  in  patterns  and  are  used  for  the  choice  glass  of  the  house.  The  sash 
curtains  are  white  silk,  and  the  color  of  the  room  is  derived  from  the  carpet 
and  chair  coverings,  which  are  old  rose.  The  side  lights  are  silver,  as  are  the 
door  and  window  mounts.  A  door  admits  to  the  elevator  by  which  the  Observ- 
ation Room  at  the  top  of  the  tower  is  reached,  as  well  as  the  intervening 
floors. 

The  central  door  towards  the  river  opens  into  the  Sun-Parlor.  It  is  the  most 
westerly  extension  of  the  Mansion,  and  is  built  fairly  a-top  the  cliff.  Here  one 
may  enjoy  the  novel  sensation  of  being  within  and  without  the  Mansion  at  the 
same  time;  for  the  windows  that  form  its  walls  are  so  spacious,  and  the  out- 
looks they  afford  so  broad  and  varied  that  one  scarce  realizes  this  is  an  inclosed 
space.  The  ceiling,  too,  is  so  lofty  that  the  impression  of  space  is  actually 
increased  rather  than  lessened  by  the  structural  enclosure. 

It  is  a  veritable  outdoor  room  with  all  the  comforts  and  conveniences  of 
indoors.  It  is  in  no  sense  an  enclosed  porch,  but  a  room  built  and  designed  as  a 
sun-room.  Of  walls  there  are  none,  so  to  speak,  save  for  the  framework  that 
encloses  the  windows  and  doors,  and  as  the  latter  are  glazed  from  top  to  bot- 
tom, the  whole  of  the  wonderful  outside  world  is  visible  from  every  part.  The 
room  is  paved  with  red  tile  laid  with  wide  joints  of  white  mortar.  A  carpet  of 
soft  green  covers  most  of  it.  The  woodwork  —  a  low  wainscot  of  plain  panels 


i 


surmounted  with  channeled  Ionic  pilasters  —  is  treated  with  white  enamel 
paint.  The  ceiling,  which  is  in  white  plaster,  is  supported  by  a  frieze  in  relief, 
while  the  beams  are  ornamented  in  a  similar  manner.  In  the  centre  is  a  long 
oval,  with  an  upper  cornice  that  conceals  the  electric  lamps  that  shed  a  delight- 
ful light  upon  the  interior.  The  outer  wall  of  the  Breakfast  Room  retains  the 
natural  drab  color  of  the  cement,  and  to  it  is  applied  a  graceful  design  in 
treillage,  painted  white.  The  plants  of  English  ivy  at  its  base  will  in  time,  no 
doubt,  give  a  decided  green  note  to  these  walls.  Below  the  windows  over- 
looking the  Hudson  is  a  vast  window  seat,  surmounting  and  concealing  the 
pipes  of  the  steam  heating  apparatus.  To  the  south  a  door  opens  from  the 
path  that  approaches  from  the  entrance,  while  to  the  north  a  corresponding 
door  opens  onto  a  continuation  of  this  path  which  here  leads  directly  to  the 
Swimming  Pool. 

The  two  rear  corridors  of  the  Mansion  cross  at  right  angles.  One  arm  leads 
directly  to  the  Breakfast  Room,  and  contains  the  rear  stairs,  an  agreeably 
curved  flight  of  steps  provided  with  an  old  Colonial  handrail  and  baluster. 
The  wainscot  is  wood  painted  white,  and  the  upper  walls  are  hung  with  gold 
silk  damask  in  two  tones.  The  other  arm  leads  out  directly  from  the  Patio  to 
the  north  entrance,  which  is  an  open  court,  inclosed  on  one  side  by  the  main 
portion  of  the  mansion,  and  on  the  other  by  the  service  wing. 

The  chief  apartment  opening  from  the  north  corridor  is  the  Billiard  Room. 
It  is  paneled  to  the  ceiling  in  Circassian  walnut,  with  small  rectangular  panels 
surmounted  with  a  carved  frieze.  It  has  a  geometrical  ceiling  in  white  plaster. 
The  chief  decorative  feature  is  the  trophy  shelf,  which  is  carried  wholly 
around  the  room  below  the  frieze  and  on  which  is  shown  the  rich  collection 
of  silver  cups  and  trophies  won  by  Mr.  Billings  through  his  horses.  His  collec- 
tion is  actually  more  numerous  than  can  be  given  accommodation  here,  but 
such  pieces  as  are  shown  are  well  displayed,  and  many  of  them  are  of  real  inter- 
est in  themselves  as  pieces  of  plate,  apart  from  their  association  with  the  con- 
tests of  which  they  are  reminders. 

The  fireplace  has  facings  of  Caen  stone,  with  carved  bronze  Italian  andirons 
surmounted  by  the  Lion  of  St.  Mark.  Above  it  are  hung  two  frames  of  horse 
portraits,  a  series  of  remarkable  heads  in  black  and  white,  and  colored,  by 
Dickey,  matchless  "  Lou  Dillon  "  in  the  centre,  and  other  great  horses,  some  no 
longer  living,  but  all,  now  or  formerly,  owned  by  Mr.  Billings.  There  are  many 


other  treasures  and  mementoes  of  horse  racing  here.  In  a  frame  is  a  gilded 
horseshoe,  worn  by  "Lou  Dillon"  when  she  made  her  famous  world's  record 
of  1.58^  at  Memphis,  October  24,  1903.  Another  frame  contains  gold  plated 
shoes  from  "  Monk"  and  "Equity,"  worn  when  they  made  the  world's  record 
to  pole  at  Memphis,  in  1904,  the  time  being  2.07^  minutes.  There  are 
rich  trophies  of  enamel  ware  from  Russia,  and  other  pieces  of  distinguished 
origin,  all  testifying  to  Mr.  Billings's  remarkable  success  on  the  turf  and 
the  regard  of  his  fellow  sportsmen.  The  whole  room  is,  in  fact,  a  sportsman's 
room,  and  a  brilliantly  successful  sportsman,  it  should  be  added;  yet  there  is 
no  over-suggestion  of  the  owner's  deep  interest  in  these  matters ;  nor,  in  this 
very  equine  room,  does  the  horse  element  seem  to  dominate  in  the  way  it 
actually  does. 

The  service  portion  of  the  Mansion,  while  most  important  in  the  living 
economy  of  the  dwelling,  can  be  but  briefly  noted.  Beyond  the  Breakfast 
Room  is  the  pantry,  with  walls  tiled  in  white.  Adjoining  it  is  the  servants 
dining  room,  and  then  the  kitchen  paved  with  brick  and  walled  with  tile; 
it  contains  a  French  range  for  coal  and  gas.  Beyond  are  store  rooms,  scullery, 
pastry  room  with  a  battery  of  refrigerators,  and  housekeeper's  office.  Other 
rooms  affiliated  with  this  department  are  in  the  basement.  Here  is  the  laundry, 
with  steamer  for  cleaning  clothes  and  a  steam  dryer  for  use  in  bad  weather; 
trunk  room,  room  for  cleaning  plate,  coal  cellar  and  wood  room.  The  me- 
chanical plant  includes  two  boilers  for  heating  purposes,  now  supplanted  by 
larger  boilers  in  the  Pool,  with  separate  heaters  for  the  laundry  and  bath- 
room water.  All  the  water  admitted  to  the  Mansion  is  filtered  before  use.  An 
elaborate  ventilating  plant  permits  the  ventilation  of  each  room  by  warmed  air, 
delivered  by  individual  conduits.  The  electrical  and  telephone  service  of  the 
Mansion,  outbuildings,  and  grounds,  are  of  the  most  modern  description. 
The  refrigerating  plant  includes  facilities  for  artificially  cooling  the  re- 
frigerators. 

The  second  story  contains  the  bedrooms  with  their  accompanying  baths. 
The  space  at  the  head  of  the  main  stairs  is  termed  the  Arcade  and  serves  as 
a  foyer  hall  for  the  second  story.  The  wainscoting  of  the  lower  hall  is  con- 
tinued here  in  low  paneling,  above  which  is  two-toned  gold  silk  damask.  The 
white  ceiling  is  decorated  with  wreaths,  and  is  supported  by  a  wood  cornice. 
The  window  curtains  and  carpet  are  blue,  and  on  the  latter  is  a  splendid  tiger 


I 


I 


rug.  Several  pieces  of  furniture  call  for  special  mention.  One  is  a  replica 
of  a  Chippendale  cabinet  designed  in  the  Chinese  style,  and  which  contains 
some  fine  old  specimens  of  Chinese  blue  and  white  porcelain.  Another  is  the 
writing  table,  a  replica  of  one  of  the  most  famous  pieces  by  Chippendale, 
made  about  1755,  and  noted  as  one  of  the  most  beautiful  examples  of  his  work. 
A  third  interesting  piece  is  a  couch,  covered  with  antique  red  velvet  of  early 
seventeenth  century,  and  some  remarkable  tapestry  which,  coming  to  America 
directly  from  Peru,  are  fine  pieces  of  Flemish  origin. 

Mr.  and  Mrs.  Billings  have  adjoining  rooms  overlooking  the  Hudson; 
they  are  both  spacious  apartments  of  unusual  size.  Mrs.  Billings's  room  is 
designed  in  the  Louis  XVI  style,  and  is  paneled  throughout  with  a  carved 
wood  wainscoting  that  is  an  exact  replica  of  a  paneling  in  the  Petit  Trianon 
designed  for  Marie  Antoinette.  It  is  painted  French  gray  with  white  trim- 
mings, and  is  embellished  with  carved  festoons  and  small  panels  of  cupids 
over  the  doors.  The  mantel  is  carved  Carrara  marble  with  a  hearth  of  white 
marble  inlaid  with  green;  the  andirons  are  bronze;  above  it  is  a  built-in  mirror. 
The  white  furniture  has  rose  and  gray  coverings.  The  floor  rug  was  especially 
woven  for  the  room  and  has  the  prevailing  colors  of  rose,  gray,  and  white.  A 
delightful  collection  of  colored  engravings  in  gilt  frames  hangs  on  the  walls. 

Mr.  Billings's  room  is  hung  with  stripe  paper  in  pink,  green,  and  white.  The 
mantel  is  carved  wood,  painted  white,  with  white  marble  facing  and  hearth 
and  brass  andirons.  The  carpet  is  in  two  tones  of  green,  and  the  furniture  is 
Chippendale.  A  magnificent  Chinese  embroidered  bedspread  is  easily  the 
most  sumptuous  article  in  the  room. 

Mr.  Billings  Jr.'s  suite  consists  of  a  private  hall  opening  from  the  Arcade, 
a  study  and  bedroom  with  bath.  The  bedroom  has  a  red  and  white  stripe 
paper  and  a  blue  carpet.  The  suite  is  delightfully  equipped  for  a  young  man's 
use.  The  portiere  at  the  Arcade  entrance  is  a  fine  tapestry  that  ranks  among 
the  most  notable  in  the  Mansion. 

The  Lavender  Room  has  a  stripe  paper  with  large  panels  formed  by  knotted 
lavender  ribbon.  The  mantel  is  wood,  painted  with  white  enamel,  and  with 
a  dove  marble  facing  and  hearth.  The  carpet  is  a  single  tone  of  lavender,  and 
the  furniture,  in  the  Louis  XVI  style,  is  white  with  lavender  cushions. 

The  Blue  Room  has  a  blue  and  drab  tapestry  forest  paper,  with  white 
enameled  woodwork.  The  mantel  is  wood,  with  dove  marble  facing  and 


hearth;  above  are  bookshelves.  The  two-toned  carpet  is  blue  laid  on  a  hard 
wood  floor. 

The  Rose  Room  has  a  medallion  wall  paper,  with  rose  and  white  carpet  and 
white  enameled  Louis  XVI  furniture  with  rose  damask  coverings.  A  bedroom 
on  the  second  floor  of  the  tower  has  a  blue  and  white  wall  paper,  blue  carpet 
and  white  silk  curtains.  The  furniture  is  old  Colonial. 

The  Observation  Room  occupies  the  top  of  the  tower  and  fills  the  fifth  floor. 
It  is  an  octagonal  apartment,  roofed  with  a  dome,  and  is  treated  throughout 
with  white  enamel.  Windows  fill  the  wall  space  above  the  wainscot,  and  afford 
ravishing  views  in  every  direction.  It  is  the  summit  of  the  house,  a  room,  all 
the  wonders  of  which  are  without  it,  yet  yielding  wonders  so  remarkable, 
and  nowhere  seen  so  well  as  from  here,  as  to  be  well  worth  climbing  up  to 
did  not  the  elevator  convey  one  thither  without  exertion.  One  cannot  leave 
this  delightful  Mansion  directly  from  this  room  without  passing  through 
other  apartments ;  but  the  memories  of  the  sights  it  affords  must  long  remain 
with  the  most  pleasurable  recollections  of  "Fort  Tryon  Hall." 


i 


IV 


The  Pool  is  a  spacious  structure,  covering  a  superficial  area  of  145  by  52 
feet.  It  is  built  on  a  declivity  to  the  north  and  somewhat  below  the  Mansion, 
and  has  been  constructed  of  brick  and  stucco,  with  a  sloping  roof  of  green 
tiles.   It  contains  a  squash  court,  a  swimming  pool,  and  a  bowling  alley. 

The  squash  court  is  two  stories  in  height,  and  is  lined  with  maple;  an  open- 
ing in  the  entrance  corridor  provides  a  place  of  observation. 

The  swimming  pool  is  a  mammoth  apartment,  with  a  pool  75  feet  long  by 
30  feet  wide.  At  its  shallowest  end  it  is  feet  deep,  and  at  its  deepest  point 
11  feet.  It  is  lined  throughout  with  white  enamel  brick  and  is  bordered  by  a 
walk  paved  with  pink  and  white  marble.  White  marble  is  used  also  for  the 
wainscot  and  for  the  frames  of  the  doors  and  windows.  The  upper  walls  are 
pale  green  plaster  with  stencil  decorations,  and  the  roof  is  supported  on  con- 
cealed girders,  with  a  vast  curved  skylight  in  the  centre. 

At  the  furthest  end  is  an  ingle  nook  and  chimney  of  Istrian  marble.  There  are 
dressing  rooms  on  either  side,  together  with  needle  baths,  a  steam  room  and 
electric  bath.  The  pool  is  lighted  by  electric  lights  aflSxed  to  the  skylight,  and  by 
side  lights  in  green  bronze.  On  the  west  the  doors  open  on  to  a  terrace,  paved 
with  red  brick,  with  a  simple  iron  rail.  It  is  directly  above  the  bowling  alley, 
and  affords  a  wonderful  view  of  the  river  below  and  the  Palisades  beyond. 

The  bowling  alley,  which  has  its  separate  external  entrance,  as  well  as 
approach  from  within,  is  finished  in  fumed  oak,  with  lower  wainscot  and  upper 
panels  of  plain  plaster.  The  ceiling  is  beamed,  with  plaster  panels. 

Quite  at  the  further  end  is  the  mechanical  department.  Here  are  two 
one-hundred-horse  power  boilers  for  heating  the  Pool,  the  Mansion,  and  the 
water  used  in  this  building.  Here  also  are  two  forty -horse  power  Alberger 
centrifugal  pumps  for  the  fire  service  of  the  estate,  which  includes  three  fire 
outlets  with  hose  on  each  story  of  the  Mansion  and  various  hydrants  through- 
out the  grounds  and  outbuildings.  Here  also  are  two  great  Loomis-Manning 
water  filters  for  the  swimming  pool,  an  electric  motor  for  the  fans  and  ven- 
tilators, and  a  seven  and  a  half  horse  power  pump  for  automatically  supple- 
menting the  Mansion  water  supply  in  event  of  any  deficiency  in  the  public 
supply.  Connection  with  the  Mansion  for  all  this  apparatus  is  had  by  means 
of  a  tunnel  beneath  the  path  between  it  and  the  Pool. 


V 


A  word  or  two  may  be  said  on  the  house  grounds.  As  in  all  rural  estates 
these  are  in  constant  development.  And  indeed  they  could  not  be  otherwise, 
for  plants  and  shrubs  and  trees  are  ever  growing,  ever  adding  to  the  beauty 
they  live  to  supply.  The  formal  garden  as  is  often  found,  need  not  be  looked 
for  here.  The  plateau  on  which  the  Mansion  stands  is  amply  spacious  for  its 
purpose,  and  yields  generous  spaces  for  lawns  and  shrubbery;  but  the  landscape 
work  has  been  subordinated  to  the  Mansion,  which,  of  course,  dominates  the 
whole  estate.  Thus  the  long  lawn  before  the  main  doorway,  with  its  handsome 
border  of  shrubbery,  is  but  an  open  forecourt  to  the  chief  entrance.  To  the 
west  there  is  no  garden  space  at  all,  for  the  Mansion  is  so  close  to  the  cliff  that 
the  Sun-parlor  is  squarely  on  its  upmost  edge.  The  lawns  on  the  east  are 
surely  needed  as  a  setting  for  the  Mansion.  To  the  north  the  story  is  somewhat 
diflFerent. 

Here  again  is  an  open  court,  but  two  sides  of  it  are  inclosed  by  the  walls  of 
the  Mansion.  Beyond  the  spacious  driveway  is  a  fountain,  a  remarkable 
group  of  Music  with  infant  genii,  carved  in  Carrara  marble.  It  stands  in  the 
midst  of  a  spacious  pool,  faced  with  granite,  and  yields  a  fine  note  of  interest 
to  the  house  grounds.  At  some  distance  beyond  it  rises  the  historic  redoubt 
from  which  the  estate  gains  its  name.  A  wooden  shelter  facing  the  east  over- 
looks all  the  world  on  that  side,  so  spacious  is  the  view,  so  varied  the  objects 
and  places  of  interest  that  may  be  seen  from  it.  And  one  has  but  to  turn  one's 
back  to  look  out  of  the  windows  towards  New  Jersey  and  all  the  wonders  of 
nature  in  that  direction. 

And  then  there  are  hollows  and  hills,  depressions  and  rises,  nooks  and 
corners,  open  level  places  where  possible,  fascinating  curves  and  unexpected 
depressions  everywhere;  planted  where  it  has  been  possible  to  plant  them; 
decorated  with  shrubbery  and  flowering  plants  where  they  will  grow  to  their 
own  best  advantage  and  to  the  beauty  of  the  grounds.  Just  what  is  needed  has 
been  done,  and  the  start  once  made,  nature  and  constant  care  may  be  de- 
pended upon  to  do  the  rest. 


1' 


I 


VI 


The  Stable  is  on  the  further  side  of  Fort  Washington  Avenue  from  that  on 
which  the  Mansion  is  situated.  It  is  an  immense  structure,  built  out  beyond 
the  hilltop,  with  a  basement  of  stone,  surmounted  by  a  wood  superstructure 
faced  with  stucco.  It  is  built  around  three  sides  of  an  open  court  entered 
directly  from  Fort  Washington  Avenue.  The  left  wing  serves  as  an  automo- 
bile garage,  and  contains  Mr.  Billings's  large  assortment  of  these  vehicles. 
The  right  wing  is  a  stable  for  horses,  and  many  a  famous  animal  has  spent 
quiet  days  here  and  does  so  now.  The  whole  building  is  elaborately  fitted  up, 
and  is  completely  adapted  in  every  way  for  automobile  and  horse  purposes. 
The  stablemen  have  sleeping  rooms  in  the  second  story,  and  in  the  basement 
is  an  automobile  repair  shop,  so  thoroughly  fitted  for  repair  work  that  every- 
thing that  needs  to  be  done  to  an  automobile  may  be  done  here  except  the 
manufacture  of  tires. 

There  is  a  broad  esplanade  behind  the  Stable  that,  before  it  was  paved,  as 
now,  served  as  an  exercising  place  for  the  horses.  It  is  built  quite  out  over  the 
cliff,  which  here  descends  with  almost  startling  abruptness.  Looking  over  the 
railing  one  may  discern,  far  down  below,  the  vegetable  garden  and  farm  of 
"Fort  Tryon  Hall " !  Verily  the  wonders  of  this  remarkable  city  estate  have  no 
end.  The  Mansion  and  the  home  grounds,  the  Swimming  Pool  and  the  Stable 
may  indeed  be  expected;  but  a  vegetable  garden  in  the  city  for  a  city  house 
seems  a  chapter  from  a  tale  of  enchantment.  Yet  there  it  is,  far,  far  down 
below  the  house,  and  spread  before  the  public  so  that  all  who  will  may  see  it. 
It  should,  however,  be  added  that  its  location  is  subject  to  change;  but  the 
vegetable  garden  may  always  be  expected  to  remain  a  permanent  feature  of 
Mr.  Billings's  remarkable  estate. 

Further  down  Fort  Washington  Avenue,  and,  indeed,  readily  seen  as  the 
Mansion  is  approached  from  the  south,  is  a  fine  old  house  of  stone,  known  as 
"The  Castle."  It  was  occupied  by  the  Richards  family  in  1853  and  after- 
wards passed  into  the  ownership  of  "Boss"  Tweed.  This  house,  with  its  some- 


what  church-like  outbuilding,  is  included  within  the  area  of  the  estate  and  is 
the  home  of  Mr.  Billings's  superintendent.  The  outbuilding  is  used  as  a 
refectory  for  the  men  permanently  employed  on  the  property.  Behind  it  is 
an  extensive  group  of  greenhouses,  also  belonging  to  the  estate,  and  a  flower 
garden  where  flowers  are  grown  for  summer  use  in  the  Mansion. 

Yet  with  all  these  parts  devoted  to  buildings  and  the  essentials  of  estate 
development,  the  grounds  of  "Tryon  Hall"  contain  many  great  spaces  of  pure 
naturalness,  deep  ravines,  rocky  hollows,  and  wooded  hillsides.  The  whole 
area  is  so  large,  and  the  surface  is  so  diversified,  that  Nature  has  found  space 
here  for  many  delightful  spots.  Much  of  this  is  still  in  its  natural  state  and 
needs  no  help  of  man  to  make  it  more  beautiful  than  it  really  is.  So  that  while 
the  grounds  include  much  park  space  they  abound  in  lovely  waste  spaces 
where  nature  has  done  her  best,  and  sometimes  under  difiicult  conditions. 

And  if,  standing  on  some  lofty  ridge,  the  down-look  appears,  at  times,  a  bit 
formidable  and  abrupt,  it  may  be  well  to  remember  that  in  this  natural  con- 
figuration of  the  ground  lies  the  safety  of  the  estate.  One  cannot  well  foretell 
the  changes  that  the  rapid  march  of  progress  may  make  on  the  map  of  New 
York  even  within  the  period  of  a  few  years;  but  it  seems  most  unlikely  that 
city  streets  will  climb  these  vast  heights  or  seek  to  bridge  these  chasms  with 
"improvements."  Mr.  Billings  has  already  brought  to  these  grounds  all  the 
improvements  they  require,  and  their  future  may  well  be  left  to  his  capable 
and  devoted  hands. 


THE  PAINTINGS 

AND 

OTHER  OBJECTS  OF  ART 

COLLECTED  BY 

ME.  C.  K.  G.  BILLINGS 


ARTISTS  EEPEESENTED 


Bargue,  Charles 

Blommers,  Bernardus  Johannes 

Blommers,  Bernardus  Johannes 

BoNHEUR,  Rosa 

BoNHEUR,  Rosa 

BosBooM,  Johannes 

BosBOOM,  Johannes 

Brissot,  Felix  Saturnin 

Cazin,  Jean  Charles 

Clays,  Paul  Jean 

Clays,  Paul  Jean 

CoROT,  Jean  Baptiste  Camille 

CoROT,  Jean  Baptiste  Camille 

CoROT,  Jean  Baptiste  Camille 

CoROT,  Jean  Baptiste  Camille 

CoROT,  Jean  Baptiste  Camille 

Daubigny,  Charles  Francois 

Daubigny,  Charles  Francois 

Diaz  de  la  Pena,  Narcisse  Virgile 

De  Haas,  J.  H.  L. 

De  Hoog,  Bernard 

Dupre,  Jules 

Dupre,  Jules 

Dupre,  Jules 

Grolleron,  Paul  Louis  Narcisse 
Grund,  Johann 
Harpignies,  Henri 
Hillingford,  R. 
Hitchcock,  George 
HuGUET,  Victor  Pierre 
Israels,  Josef 
Israels,  Josef 
Israels,  Josef 


The  Sentinel 
Children  of  the  Beach 
Interior  at  Scheveningen 
The  King  of  the  Desert 
Landscape  —  Sheep  and  Cattle 
Church  Interior  at  Dordrecht 
An  Old  Doorway 
Sheep 
La  Route 

A  Calm  on  the  Scheldt 
Off  Flushing 
La  Charrette  de  Gres 
Lake  Nemi 

Aleux-Palluel  —  Le  Vieux  Pont  de 

Briques 
Chateau  Thierry 
Landscape  with  Lake  and  Ruin 
Landscape 
La  Saulaie 
Le  Pare  aux  Boeufs 
Cattle 

Dutch  Baby 

A  Windy  Day 

The  Village  Road 

The  Fisherman 

An  Infantry  Advance 

Hagar  and  Ishmael 

Le  Teverone,  Souvenir  d'ltalie 

"'Twixt  Love  and  Duty" 

Tulip  Culture 

Arabs  Resting 

Good  Comrades 

First  Steps 

The  Young  Mother 


Israels,  Josef 
Israels,  Josef 
Israels,  Josef 
Israels,  Josef 
Jacque,  Charles  Emile 

Jacque,  Charles  Emile 
Knaus,  Professor  Ludwig 
Maris,  Willem 
Maris,  Willem 
Maris,  Willem 
Mauve,  Anton 
Mauve,  Anton 
Millet,  Jean  Francois 
Millet,  Jean  Francois 
Picknell,  William  L. 

PlETERS,  E. 

Rousseau,  Theodore  Pierre  Etienne 
RoYBET,  Ferdinand 

SCHREYER,  AdOLPHE 
SCHREYER,  AdOLPHE 

Thaulow,  Fritz 

Troyon,  Constant 

Van  Marcke,  Emile 

Van  Marcke,  Emile 

Weissenbruch,  Johannes  Hendrik 

Ziem,  Felix 

ZiEM,  Felix 


The  Fisher  Girl 
The  Bashful  Suitor 
The  Young  Mother 
Returning  from  Work 
Flock  of  Sheep  on  the  Edge  of  the 
Woods 

In  the  Forest  of  Fontainebleau 

The  Christening 

Brood  of  Ducklings 

Under  the  Willows 

Cows  in  Pasture 

Holland  Meadows 

Tending  the  Flock 

The  Retreat  from  the  Storm 

The  Hay  Stacks 

In  California 

The  Young  Kitchen  Maids 
Bosquet  d'Arbres 
A  Spanish  Nobleman 
Bulgarian  Smugglers 
A  Halt  in  Wallachia 
Bridge  at  Verona 
La  Charrette  de  Foin 
Returning  from  Market 
Cows  Returning  Home 
A  Peaceful  Day 
Kiosque  des  Eaux  Douces 
Venice 


THE  SENTINEL 

CHARLES  BARGUE 

FRENCH  1856-1883 


CHARLES  BARGUE 

FRENCH  1856-1883 


THE  SENTINEL 

Height,  11  inches;  width,  8  inches. 

Leaning  in  an  indolent  attitude  against  a  wall  built  of  huge  blocks  of  stone, 
which  stretches  obliquely  across  the  entire  picture,  stands  a  young  Oriental 
of  picturesque  appearance.  Upon  his  curly  head  is  a  snow-white  cap  of  linen. 
A  tunic  of  dark  blue  silk,  with  long,  flowing  sleeves,  is  crossed  tightly  on 
his  breast,  and  tight-fitting  breeches  of  white  linen  clothe  his  shapely  limbs. 
His  legs  are  bare  from  the  knee  down,  and  his  feet  are  thrust  into  heelless 
slippers.  Across  his  back  is  slung  a  flintlock,  with  long  barrel  and  fantasti- 
cally shaped  stock,  and  in  the  broad  sash  which  girds  his  waist  is  thrust  a 
heavy  ytaghan,  the  hilt  of  ivory,  the  grip  studded  with  silver  and  precious 
stones.  At  his  feet  lies  a  greyhound  wearing  a  narrow  silver  collar,  its  head 
dropped  on  its  paws,  its  eyes  closed  in  slumber. 

Signed  on  right,  Bargue,  76. 

Collection  of  John  W.  Wilson,  Paris. 

Collection  of  Mrs.  Mary  J.  Morgan,  New  York,  1886. 

Collection  of  the  late  John  T.  Martin,  1909. 

Charles  Bargue,  the  painter  of  the  above-described  masterpiece,  was  a  pupil  of  Gerome.  He  was  a 
young  man  of  genuine  genius  and  great  technical  gifts.  Dying  when  he  was  quite  young,  his  finished 
pictures  are  very  few,  but  they  are  of  exceptional  excellence  and  correspondingly  rare. 


CHILDEEN  OF  THE  BEACH 

BERNARDUS  JOHANNES  BLOMMERS 

DUTCH  1844r- 


BERNARDUS  JOHANNES  BLOMMERS 

DUTCH  1844— 


CHILDREN  OF  THE  BEACH 

Water-Color 
Height,  22  inches;  length,  31J^  inches. 

Two  or  three  groups  of  small  Dutch  children  are  playing  on  the  sands  of  a 
broad  beach,  sailing  their  toy  boats  in  a  shallow  pool  of  water,  which  has  been 
left  by  the  receding  tide.  In  the  middle  distance  bathers  are  seen  in  the  break- 
ers or  undressing  on  the  beach,  and  a  few  sails  gleam  white  on  the  distant  sea 
horizon,  under  a  simple  summer  sky. 

Signed  at  the  lower  right,  Blommehs. 

Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


t 


INTEKIOR  AT  SCHEYENINGEN 

BERNARDUS  JOHANNES  BLOMMERS 

DUTCH  1845— 


BERNARDUS  JOHANNES  BLOMMERS 

DUTCH  1845— 


INTERIOR  AT  SCHEVENINGEN 

Height  43  inches;  width,  35j^  inches. 

At  a  window  within  a  cottage  room  two  young  peasant  women  and  a  small 
girl  are  grouped  about  a  table  eating  a  frugal  meal.  The  two  elder  wear 
quaint  headdress.  She  at  the  right  is  seated,  her  knitting  in  her  lap  where  her 
left  hand  rests  still  holding  on  to  it.  Her  right  elbow  rests  on  the  table,  and 
with  her  right  hand  she  holds  a  cup  she  has  just  taken  from  her  lips,  which, 
still  open,  give  to  her  features  the  suggestion  of  a  listless  smile.  Across  the 
table,  at  the  opposite  side  of  the  window  casement,  her  companion  stands, 
a  loaf  of  bread  held  against  her  breast  with  her  left  arm.  She  has  paused  in  the 
act  of  cutting  a  thick  slice  and  is  gazing  at  the  floor  in  vacuous  contemplation, 
while  the  child,  who  has  been  munching  bread,  looks  wistfully  up  at  her.  A 
deep  blue  spread  covers  the  table  and  across  it  are  lying  the  dried  herring  of 
the  lunch.  The  sunlight  throws  the  shadows  of  the  window  frames  upon  the 
curtains,  and  falling  on  the  red  carpet  brightens  this  cosy  corner  of  an  humble 
room.  The  seated  girl  wears  a  brown  waist  and  a  bluish-green  skirt,  the  one 
who  is  standing  a  rose  waist  and  brown,  striped  skirt,  while  the  child  has  a  red 
skirt  and  a  striped  overdress.  Against  the  wall  is  seen  a  corner  of  the  china 
cupboard. 

Signed  at  the  lower  right,  B.  J.  Blommers. 

Purchased  from  the  late  Hermann  Schaus. 


♦I 


THE  KING  OF  THE  DESERT 

ROSA  BONHEUR 

FREXCH  18^2-2-1899 


ROSA  BONHEUR 

FRENCH  1822-1899 


THE  KING  OF  THE  DESERT 

Height,  17^2  inches;  width,  U  inches. 

On  a  rocky  slope,  composed  of  drab  and  buff  slabs,  a  lion  has  halted  and 
stands  with  his  body  outlined  against  a  mass  of  bright  green  foliage.  The 
hind-quarters  are  nearly  in  profile;  the  paws  occupying  a  lower  level,  so  that 
they  are  hidden  from  view.  But  the  fore  part  of  the  body  is  turned  full  to  the 
front,  the  feet  firmly  planted,  the  head  lifted  up;  the  sinewy  frame  taut  with 
a  strain  of  alert  suspense,  as  the  beast's  gaze  scans  the  horizon.  Except  for  a 
white  patch  on  the  underlip  the  color  of  the  pelt  is  orange-tawny. 


Signed  at  the  lower  left,  Rosa  Bonheuh,  1888. 


LANDSCAPE -SHEEP  AND  CATTLE 

ROSA  BONHEUR 

FRENCH  1822-1899 


ROSA  BONHEUR 

FRENCH  1822-1899 


LANDSCAPE  —  SHEEP  AND  CATTLE 

Height,  20  inches;  length,  24  inches. 

The  scene  shows  a  portion  of  rich  meadow-land,  traversed  by  the  silvery 
waters  of  a  shallow  river.  In  the  distance  are  steep  bordering  hills,  tree- 
covered,  and  cut  by  a  deep  valley.  The  deep  green  of  the  trees  serves  as  a  foil 
to  the  brighter  hues  of  the  meadow,  while  the  sunlight  on  the  fitfully  moving 
leaves  gives  an  admirable  play  of  color. 

In  the  foreground  a  number  of  long-horned  cattle  stand  or  lie,  in  company 
with  a  small  flock  of  sheep.  Most  prominent  is  a  fine  red  cow,  lying  with  her 
back  to  the  spectator,  her  head  turned  to  show  its  handsome  profile.  The  sun 
streams  full  upon  her,  and  her  flanks  seem  to  heave  in  lazy  enjoyment  of  the 
warmth.  The  hairy  texture  of  the  hides,  the  crisp  woolly  fleece  of  the  sheep, 
and  their  slow,  methodical  movements,  are  all  shown  with  the  realistic  touch  of 
the  deep  student  of  animal  nature. 

Signed  at  the  lower  right,  Rosa  Bonheur,  1891. 

Collection  of  the  late  John  T.  Martin,  1909. 


j 


CHURCH  INTERIOR  AT  DORDRECHT 

JOHANNES  BOSBOOM 

DUTCH  1817-1891 


JOHANNES  BOSBOOM 

DUTCH  1817-1891 


CHURCH  INTERIOR  AT  DORDRECHT 

Water-Color 

Height,  14  inches;  width,  11  inches. 

A  VIEW  down  the  nave  of  a  lofty  Gothic  church  interior,  showing  carved  and 
canopied  choir  stalls  on  the  right,  an  open  screen  beyond,  and  a  succession 
of  columns  and  pointed  arches,  in  perspective,  rising  to  a  groined  ceiling.  In 
the  foreground,  on  the  right,  is  a  cavalier,  accompanied  by  a  dog,  and  in  front 
of  the  choir  stalls  stand  a  second  gentleman  and  a  small  girl  in  seventeenth- 
century  costume. 

Signed  at  the  lower  right,  J.  Bosboom. 

Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


AN  OLD  DOORWAY 

JOHANNES  BOSBOOM 

DUTCH  1817-1891 


JOHANNES  BOSBOOM 

DUTCH  1817-1891 


AN  OLD  DOORWAY 

Water-Color 
Height,  b]/^  inches;  width,  33^  inches. 

A  SEVENTEENTH-CENTURY  interior,  showing  a  lofty  stone  fireplace  on  the  left, 
a  partly  open  doorway  on  the  right,  and  at  the  back  an  archway,  with  a  carved 
entablature,  and  above  it  a  niche  in  which  is  placed  a  bust.  The  ceiling  is 
simply  but  strongly  built  of  heavy  joists,  without  any  elaboration,  while  the 
whitewashed  walls  are  innocent  of  any  ornament  save  two  pictures  over  the 
fireplace  and  the  door.  A  plain  oak  settle  is  the  sole  furniture  of  the  room. 
Two  women  in  the  costume  of  the  period  are  talking  together  near  the  arch- 
way. 

Signed  at  hwer  left,  B. 

Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


SHEEP 

FELIX  SATURNIN  BRISSOT 

FRENCH  Contemporary 


FtuX  SATTJRNIN  BRISSOT 

FRENCH  Contemporary 


SHEEP 


Height,  13  inches;  length,  inches. 

In  the  foreground  a  shepherd  is  herding  his  flock  of  sheep  into  a  rude  barn  on 
their  return  from  pasture,  holding  open  a  gate.  Beyond  the  group,  across 
a  yard,  is  a  dilapidated  hovel,  a  stone  wall  with  a  rough  gate,  and  distant 
trees  which  break  the  horizon  under  a  cloudy  but  luminous  sky.  In  the 
foreground  on  the  left  three  fowl  are  searching  for  food  among  the  straw. 


Collection  of  Edward  M.  Knox,  1906. 


Signed  at  the  lower  left,  F.  Brissot. 


LA  EOUTE 

JEAN  CHARLES  CAZIN 

FRENCH  1840-1901 


JEAN  CHARLES  CAZIN 


FRENCH  1840-1901 

LA  ROUTE 

Height,  31  inches;  length,  38  inches. 

A  BROAD  sandy  country  road  sweeps  around  from  the  foreground  to  the  left, 
and  disappears  in  the  middle  distance,  beyond  a  roadside  cottage  overhung 
with  tall  trees.  In  the  foreground  on  the  right,  a  large  church,with  projecting 
roof,  corner  buttresses,  rude  belfry  and  simple  windows  stands  on  a  grassy 
bank,  which  is  surrounded  by  a  rough  stone  wall.  To  the  right,  in  the  immedi- 
ate foreground,  is  a  low,  tiled  building  with  green  shutters,  and  near  it  is  a 
country  cart  loaded  with  wood.  The  sky  is  completely  covered  with  gray 
clouds,  except  near  the  horizon,  where  a  narrow  strip  of  sunlight  shows  through 
the  trees. 

Signed  at  the  lower  right,  J.  C.  Cazin. 

Collection  of  Edward  M.  Knox,  1906. 


PAUL  JEAN  CLAYS 

BELGIAN  1819-1900 


A  CALM  ON  THE  SCHELDT 

Height,  Sl}/2  inches;  length  54  inches. 

Near  the  centre  of  this  picture  two  vessels  are  lying  close  together.  They 
are  hermaphrodite  brigs,  and  their  sails  are  flapping  lazily  in  the  breeze.  To 
the  right  is  a  sloop,  with  bare  mast;  to  the  left  is  a  village,  with  a  windmill 
in  the  distance;  near  the  shore  is  a  boat  with  a  square  hull;  and  in  the  fore- 
groundjto  the  left,  are  small  fishing  boats  with  fishermen. 

Signed  in  the  lower  right-hand  corner,  P.  J.  Clays. 

Collection  of  the  late  Charles  T.  Yerkes,  1910. 


I 
I 

I 

I 

j 


OFF  FLUSHING 

PAUL  JEAN  CLAYS 

BELGIAN  1819-1900 


PAUL  JEAN  CLAYS 

BELGIAN'  1819-1900 

OFF  FLUSHING 


Height,  19  inches;  length,  273/2  inches. 

On  the  left  a  large  Dutch  trading-boat,  with  sails  idly  flapping  in  the  light 
wind,  is  drifting  along  on  the  placid  surface  of  the  broad  River  Scheldt. 
Beyond,  in  the  middle  distance,  anchored  near  either  shore,  are  sailing  craft, 
and  a  steamer,  with  the  Dutch  flag  at  the  stern,  is  moving  across  the  river, 
having  just  left  the  landing  place  on  the  right.  The  sky  is  covered  with  drift- 
ing summer  clouds,  against  which,  here  and  there,  a  few  seagulls  are  seen 
soaring  above  the  water. 

Signed  at  the  lower  right,  P.  J.  Clays,  1871. 

Collection  of  the  late  Isaac  T.  Frost,  1907. 


LA  CHAKEETTE  DE  GRES 

JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 


JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 

LA  CHARRETTE  DE  GRES 

Height,  32  inches;  length,  39}^  inches. 

An  unusual  Corot,  combining  the  charm  of  tree  and  sky  with  an  incident 
of  every-day  peasant  Hfe  such  as  is  very  infrequently  found  among  the  artist's 
work.  In  the  centre  of  the  picture,  and  the  most  prominent  feature  of  the 
composition,  stands  a  huge  tree,  with  twisted  trunk  and  great  limbs  which 
have  spread  their  shade  for  many  a  decade.  The  dense  mass  of  its  foliage 
obscures  the  sky,  the  deep  green  of  the  leaves  shading  ofiF,  as  the  lighter 
branches  and  twigs  are  reached,  into  feathery  bunches  of  bluish  green  through 
which  filters  a  tender  silvery  light.  Other  smaller  trees  grow  on  the  right,  and 
a  tangle  of  undergrowth  fills  the  spaces  between  the  trunks.  On  the  left,  the 
side  of  a  low  hill  has  been  broken  away  for  building  stone.  A  workman,  buried 
to  his  knees,  is  busy  at  it,  and  a  high  two-wheeled  cart,  heavily  laden  with 
blocks  of  the  stone  and  drawn  by  two  horses,  is  just  being  driven  away. 
Beyond,  the  low  hills  sweep  to  the  right,  and  the  gleam  of  a  large  body  of 
water  catches  the  eye.  The  sky  is  a  light  blue,  covered  with  gray  clouds,  from 
between  which  the  sun  casts  a  pallid  light,  falling  full  upon  the  cart  and  the 
immediate  surroundings  and  making  ill-defined  shadows  over  the  rest  of  the 
picture. 

Signed  at  the  lower  left,  Corot. 

Collection  of  the  late  John  T.  Martin,  1909. 

Exhibited  at  Vt,cole  des  Beaux-Arts,  1875,  No.  68,  hy  Doctor  Cambay. 

Described  in  "L'CEuvre  de  Corot"  by  Alfred  Robaut  and  Moreau-Nelaton,  No.  2422. 


LAKE  NEMI 

JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 


JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 


LAKE  NEMI 

Height,  21 inches;  length,  31j^  inches. 

On  the  bank  in  the  foreground  a  girl  sits,  with  her  staff  across  her  lap,  watch- 
ing her  cows  that  are  standing  in  the  water  some  distance  back  on  the  right. 
The  artist  has  given  to  the  figure  of  this  cowherd,  as  she  leans  her  weight  on 
one  arm,  the  hand  planted  on  the  grass,  and  gazes  over  the  water,  the  sugges- 
tion of  a  classic  pose  and  dreamy  feeling  that  seems  atune  with  the  mingling 
of  naturalism  and  classic  serenity  in  the  composition  and  sentiment  of  the 
landscape.  Over  the  water,  cooled  by  the  greenish  gray  reflections  of  the  sur- 
rounding vegetation,  the  light  floats  softly  toward  the  girl  from  the  cen- 
tral distance.  Here  a  low  hill  forms  a  lavender  silhouette  against  the  rosy 
suffusion  of  the  lower  sky.  The  latter,  as  it  mounts,  pales  to  a  warm  ivory  and 
thence  to  ivory  touched  with  blue,  passing  up  into  a  faint  dove-gray,  barred 
with  dipping  strata  of  feathery  tufts  of  white.  Its  tremulous  expanse  is 
bounded  on  the  right  and  left  by  the  wooded  hills  of  the  middle  distance  that 
form  a  V  with  the  horizon,  where  a  pile  of  buildings  nestles  at  the  foot  of  the 
left  slope.  The  color  of  these  hills  is  a  greenish  gray.  Pricked  out  in  front  of 
the  one  on  the  left  is  the  dainty  yellow,  green  and  brown  leafage  of  a  tree  with 
a  twisted  interlacement  of  boughs,  while  on  the  right  of  the  water  rises  a 
white  birch  trunk  with  a  few  tiny  limbs  frilled  with  leaves.  The  cows  beyond 
show  spots  of  dull  red  and  black,  while  the  girl's  figure,  in  a  yellowish  drab 
skirt  with  a  touch  of  blue  on  one  sleeve  and  a  golden  white  kerchief,  makes 
a  piquant  note  in  the  foreground. 

Signed  at  the  lower  left,  Corot. 

Collection  Leveque,  Paris,  1907. 

Described  in  "L'CEuvre  de  Corot,''  by  Alfred  Robaut  and  Moreau-Nelaton,  No.  1638,  under  title  oj 

"Solitude." 
Collection  Boussod,  Valadon  &  Co.,  Paris. 
Collection  of  the  late  H.  S.  Henry,  1910. 


ARLELX  PALLLEL  -LE  YIEUX  PONT 

DE  BRIQUES 

JEAN  BAPTISTE  CAMILLE  COROT 

FRE\CH  1796-1875 


JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 

ARLEUX-PALLUEL  —  LE  VIEUX  PONT  DE  BRIQUES 

Height,  20  inches;  length,  35^/^  inches. 

The  bridge  with  its  three  arches  crosses  the  middle  distance.  It  is  of  stone 
with  red  brick-work  inserted  over  the  two  left  arches.  Here  above  the  parapet 
shows  the  blue  back  of  a  woman  in  a  white  cap,  a  clear  bright  accent  against 
the  masses  of  foliage,  deep  green  relieved  with  gray  and  buff,  in  the  rear  of 
the  bridge.  To  the  right  of  this  clump  of  trees  a  rolling  country  of  sandy  soil 
dips  and  rises,  sprinkled  with  scrub,  while  on  the  left  the  bridge  leads  to  a 
bright  green  knoll  surmounted  by  cottages.  Above  the  latter,  springing  from 
the  lower  level  of  the  foreground,  a  single  tree  spreads  its  delicate  boughs.  The 
sky  is  a  gray  atmospheric  blue,  rufHed  with  downy  cloudlets  of  milky  white. 
At  the  foot  of  the  tree  in  the  long  grass  sits  a  woman  wearing  a  lavender  waist 
and  white  cap,  while  nearer  to  the  front  stands  a  black-and-tan  dog.  On  the 
right  of  the  foreground  the  scene  is  further  enlivened  by  a  group  of  figures. 
Two  women  are  in  conversation,  while  a  child  carrying  a  baby  stands  between 
them.  Another  woman  in  a  blue  waist  and  bright  yellow  cap  kneels  as  if 
picking  flowers,  and  a  man,  wearing  a  crimson  cap,  is  chopping  the  boughs 
off  a  "stick"  of  timber. 

Signed  at  the  lower  left,  Corot. 

Collection  of  Oscar  Simon,  Dinard,  1894. 

Collection  of  Van  Began,  and  exhibited  in  the  Museum  of  Amsterdam,  1895-1907. 
Described  in  "UQiuvre  de  Corot,"  by  Alfred  Robaut  and  Moreau-Nelaton,  No.  2025. 
Collection  of  the  late  H.  S.  Henry,  1910. 


CHATEAU  THIEERY 

JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 


JEAN  BAPTISTE  CAMILLE  COROT 


FRENCH  1796-1875 


CHATEAU  THIERRY 

Height,  13  inches;  length,  18  inches. 

On  the  right  the  walls  of  the  chateau,  along  which  extends  a  broad  path 
bordered  by  a  row  of  leafless  trees,  dominate  a  steep  hillside  which  slopes 
down  on  the  left,  where  the  vista  extends  over  the  roofs  of  houses  past  a  square 
church  tower  with  many  windows  to  a  mysterious  distance,  suggesting  a 
broad  wooded  hillside.  The  single  figure  of  a  peasant  woman  in  a  gray  dress, 
with  a  red  kerchief  over  her  head  and  a  white  sack  thrown  over  her  left  shoul- 
der, stands  in  the  right  foreground  leaning  upon  a  stick,  and  is  strongly 
accentuated  by  the  sunlight,  which  broadly  illuminates  the  landscape,  casting 
deep  shadows  upon  the  chateau  walls,  the  roofs  of  the  houses,  the  church 
tower,  and  along  the  gravelly  path  under  the  trees.  The  sky  is  completely 
covered  by  a  veil  of  soft  luminous  clouds. 

Signed  at  the  lower  left,  Corot. 

Collection  Bocquet,  1869. 

Collection  Michel-Levt,  Paris,  1876. 

L' Exposition  des  Cent  Chefs-d'CEuvre,  Paris,  1892.  A'o.  49. 
Reproduced  in  Moreau-Nelaton's  wo  k  on  Corot,  1905. 
Collection  of  H.  S.  Henry,  1907. 


LANDSCAPE  WITH  LAKE  AND  KUIN 

JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 


JEAN  BAPTISTE  CAMILLE  COROT 

FRENCH  1796-1875 


LANDSCAPE  WITH  LAKE  AND  RUIN 

Height,  163^  inches;  length,  22  inches. 

A  CONSPICUOUS  feature  of  the  composition  is  a  ruin  of  a  vast  Gothic  church, 
possibly  an  abbey,  with  two  high  towers  at  one  end  and  a  single  tower  remain- 
ing at  the  other  end,  through  the  bare  openings  of  which  show  the  gleams  of 
a  very  white  sky.  Elevated  above  a  group  of  houses,  from  which  an  arched 
bridge  extends,  it  occupies  the  end  of  a  spit  of  wooded  land.  This  forms  the 
left  bank  of  a  lake  that  stretches  from  the  bridge  to  the  foreground.  Here  a 
man,  wearing  a  gray-blue  blouse  and  straw  hat  with  red  ribbon,  sits  fishing, 
while  near  him  a  girl  stands  knitting,  beside  a  goat.  She  has  bands  of  red 
ribbon  in  her  dark  hair,  and  her  trim  figure  is  clad  in  a  purplish  slaty  gown. 
The  grassy  foreground,  starred  with  white  and  red  flowers,  is  inclosed  at  the 
sides  by  the  soft  gray  foliage  of  willows.  The  trees  on  the  right  present  a  laby- 
rinth of  freely  growing  branches,  while  the  two  on  the  left  are  pollard  willows. 

Signed  at  the  lower  right,  Corot. 

Purchased  from  Corot  by  Mr.  Rostand,  Administrator  of  the  Comptoir  d'Escompte  of  Paris,  1875. 
Sold  in  1875  to  Mr.  George  Petit  of  Paris. 

Bm/ght  by  a  great  Chilian  collector  in  whose  noted  collection  it  remained  until  1908,  when  it  was  sent  back  for 
sale  and  as  collateral,  to  the  Comptoir  d'Escompte  of  Paris  and  bought  —  a  short  time  after  —  by  Mr. 
Hermann  Schaus  of  New  York. 


LANDSCAPE 

CHARLES  FRANCOIS  DAUBIGNY 

FRENCH  1817-1878 


CHARLES  FRANCOIS  DAUBIGNY 

FRENCH  1817-1878 


LANDSCAPE 

Height,  15%  inches;  length,  22j^  inches. 

The  motive  of  this  picture  was  probably  found  on  the  River  Oise,  which  was 
the  favorite  sketching  ground  of  the  artist.  The  broad  river  flows  out  of  the 
foreground  on  the  left  along  a  flat  grassy  meadow,  where  four  washerwomen 
are  busy  at  their  tasks.  Reeds  and  water-plants  grow  in  the  shallows  near  the 
shore.  Beyond  the  meadow  and  covering  nearly  half  of  the  sky  a  rank  of  tall, 
slender  trees  extends  from  the  right  to  the  bank  of  the  stream,  which,  gleaming 
in  the  sunlight,  winds  out  of  sight  behind  the  point.  On  the  left,  in  the  middle 
distance,  a  freight  barge  is  moored  to  the  shore,  and  a  few  houses  are  scat- 
tered along  the  low  elevation  w  hich  forms  the  horizon  line.  The  sky  is  covered 
with  soft,  hazy  clouds,  and  the  surface  of  the  water  is  broken  by  a  multitude 
of  reflections  from  sky  and  trees. 


Collection  of  A.  Donatis. 

Collection  of  David  H.  King,  Jr.,  1905. 


Signed  at  the  lower  right,  Daubigny,  1877. 


LA  SAULAIE 

CHARLES  FRANgOIS  DAUBIGNY 

FRENCH  1817-1878 


CHARLES  FRANgOIS  DAUBIGNY 

FRENCH  1817-1878 


LA  SAULAIE 

Height,  14^  inches;  length,  26^^  inches. 

The  scene  is  translated  into  a  delicate  tonality  of  gray  and  brown,  the  gray 
tenderly  suffused  with  rose,  the  brown  with  faint  mellow  green.  Across  the 
water  on  the  left  a  woman  stands  watching  two  dull  red  cows  that  have 
stepped  into  the  water  and  are  drinking.  Her  black  skirt  makes  a  strong 
note  against  the  grass,  while  the  cool  light  strikes  clearly  on  her  white  waist. 
Some  little  way  back  of  her  two  tall  slender  poplars  rise  out  of  a  mass  of 
foliage,  pale  gray  and  dusky  gray,  relieved  with  a  little  olive  and  brown.  To 
the  right  of  this  stands  a  single  poplar,  whence  across  the  picture  extends 
the  farthest  bank.  It  is  edged  with  a  line  of  willows  that  parts  in  the  centre 
and  shows  a  glimpse  of  faint  lavender  hills.  Above  them  is  a  far-reaching 
sky  of  gray  creamy  vapor,  faintly  tinged  with  rose,  in  which  float  lazy  wisps 
of  rosy  lavender  and  soft  creamy  clouds.  Five  birds  are  flying  in  the  air  and 
as  many  ducks  appear  in  the  front  of  the  water.  The  latter  gives  back  the 
tender  hues  of  the  sky,  stirred  with  the  darker  tones  reflected  from  the  vege- 
tation. On  the  right  of  the  water,  where  the  reflections  are  dark  olive,  flecked 
with  yellow,  a  punt  is  moored  beside  the  bank.  Here  rises  a  clump  of  bushy 
willows,  three  of  their  stems  showing  white  against  the  fluffy  masses  of  olive- 
green  and  amber  foliage.  In  front  stands  a  slim  birch  with  a  sprinkle  of  yellow 
leafage.  On  the  right  of  it  a  vista  of  mossy  grass,  barred  with  deep  green  shad- 
ows, extends  back  to  where  three  willow  trunks  reflect  the  light. 

Signed  at  the  lower  right,  Daubigny,  1863. 

Collection  M.  Rodereb,  Paris,  1891,  No.  8. 

Cent  Chefs-d'CEuvre  des  Collections  Frangaise  et  Etrangeres,  George  Petit,  Paris,  1892. 
Collection  of  Alexander  Young,  London,  1906. 
Collection  of  Thomas  Agnew  &  Sons,  London. 
Illustrated  in  the  International  Studio,  1906. 
Collection  of  the  late  H.  S.  Henry,  1910. 


LE  PARC  AUX  BCEUFS 

NARCISSE  DIAZ  DE  LA  PENA 

FRENCH  1808-1876 


NARCISSE  DIAZ  DE  LA  PENA 

FRENCH  1808-1876 


LE  PARC  AUX  BCEUFS 

Height,  32j/^  inches;  length,  443^  inches. 

A  LITTLE  pool  occupies  the  centre  of  the  foreground,  which  is  cleared  of  trees 
and  tufted  with  scrubby  grass  and  bunches  of  foHage  sprouting  from  the 
stumps.  Farther  back  on  the  right  stand  three  handsome  oaks,  whose  white 
bark  catches  a  brilliant  light,  while  their  tall  masses  of  yellow  and  green  leaf- 
age spread  finely  against  the  sky.  The  latter  is  a  grayish  blue,  interrupted  with 
a  few  puffs  of  white  cloud  and  overarched  with  a  canopy  of  dove-gray  vapor. 
The  vista  of  level  foreground  terminates  in  a  horizontal  band  of  trees,  the 
advance  line  of  the  forest.  Toward  the  left  appears  a  signboard  on  a  post; 
and  near  this  is  a  slanting  tree  with  a  succession  of  curving  twisted  boughs 
that  overhang  an  open  gateway. 

Signed  and  dated  at  the  lower  left,  N.  Diaz,  '69. 

Collection  of  Baron  de  Haupe. 
Collection  of  M.  Boucheron,  Paris. 
Cent  Chefs-d'CEuvre,  exhibited  1883. 

Collection  of  American  Art  Association,  Sale  of  1892,  No.  153. 
Collection  of  Anthony  Roux,  Paris. 
Purchased  from  M.  Knoedleh. 


[ 

\ 


A  WINDY  DAY 

JULES  DUPRE 

FRENCH  1812-1889 


JULES  DUPRE 

FRENCH  1812-1889 


A  WINDY  DAY 

Height,  21 J/^  inches;  length,  26  inches. 

A  THATCHED  cottage  with  sheltering  trees  forms  the  principal  feature  of  the 
composition.  On  the  right  is  a  wide  stretch  of  level  ground  with  a  windmill 
in  the  middle  distance,  and  in  the  foreground  is  a  narrow  pool  reflecting  the 
building,  the  sky,  and  the  figure  of  a  woman  in  a  red  petticoat  who  is  strug- 
gling against  the  wind  on  her  way  to  the  cottage.  The  clouds  are  tossed  and 
whirled  by  a  strong  gale. 

Signed  at  the  lower  right,  Jules  Duphe. 

Collection  of  the  late  J.  W.  Kauffman,  1905. 


I 


I 


i 

I 


i 


THE  FISHERMAN 

JULES  DUPRE 

FRENCH  1812-1889 


JULES  DUPRE 

FRENCH  1812-1889 


THE  FISHERMAN 

Height,  1]/^  inches;  length,  inches. 

At  a  bend  in  the  calm  water  of  a  winding,  pastoral  stream,  a  fisherman's  punt 
is  lying,  its  head  shoved  on  the  grassy  bank  at  the  right.  The  fisherman  is 
just  lifting  his  basket,  which  seems  heavy,  to  take  it  ashore.  Low  trees  of 
light  foliage  dot  the  bank  where  the  fisher  is  landing,  and  on  the  opposite 
bank,  to  the  left,  which  in  the  foreground  is  in  partial  shadow,  a  rugged  tree 
with  heavy  branches  curling  in  many  directions  raises  these  russet  arms  over 
a  thatched  cottage.  The  distant  landscape  suggests  itself  in  a  faint  blue  line 
beyond  the  river's  farther  bank,  which  is  green  at  the  water's  edge.  The 
fluffy  white  clouds  of  a  summer  day  pile  up  from  the  horizon  in  heavy  masses, 
obscuring  the  blue  of  the  sky  except  a  relieving  spot  of  the  azure  far  aloft. 

Signed  at  the  lower  right,  J.  Dupre. 

From  the  Lemerre  collection,  Paris. 
Purchased  from  M.  Knoedler  &  Co. 


THE  VILLAGE  ROAD 

JULES  DUPRE 

FRENCH  1812-1889 


JULES  DUPRE 

FRENCH  1812-1889 


THE  VILLAGE  ROAD 

Height,  8^2  inches;  ividth,  inches. 

A  POOL  of  water  bordering  a  winding,  sandy  road  occupies  the  foreground, 
the  bank  at  the  left  rising  gently  to  a  group  of  low  trees.  In  the  middle  of  the 
composition  its  most  conspicuous  element  appears  in  two  gnarled  and  sturdy 
oaks.  On  heavy  limbs  and  trunk  the  sunlight  falls  brightly,  and  on  one  side  of 
a  thatched  cottage  which  the  trees  overshadow.  Masses  of  cumuli  cover  the 
larger  part  of  the  sky,  but  the  light  of  the  unseen  sun  brightens  some  of  their 
edges  and  causes  reflections  in  the  foreground  pool. 


Collection  of  the  late  J.  W.  Kadffman,  1905. 


Signed  at  the  lower  left,  Jules  DuPRfc. 


AN  INFANTRY  ADVANCE 

PAUL  LOUIS  NARCISSE  GROLLERON 

FRENCH  1848-1901 


PAUL  LOUIS  NARCISSE  GROLLERON 

FRENCH  1848-1901 


AN  INFANTRY  ADVANCE 

Height,  24  inches;  length,  323/2  inches. 

Coming  down  a  road,  at  the  double,  is  a  detachment  of  French  infantry,  just 
appearing  round  the  edge  of  a  broken  garden  wall,  led  by  an  officer  who  waves 
his  sword,  while  steadying  the  scabbard  with  the  other  hand.  Ahead  of  him 
are  two  soldiers,  holding  their  chassepots  with  fixed  bayonets  waist  high. 
Their  uniforms  are  different,  the  one  in  advance  having  red  trousers,  w-hile  the 
man  behind  is  entirely  in  blue  with  green  epaulets.  To  the  left  of  the  road  is  a 
row  of  broken  pickets,  the  fragments  of  which,  with  a  cap  and  knapsack,  strew 
the  ground.  Over  on  the  right,  in  the  middle  distance,  appears  a  large  force 
of  infantry  in  action,  conspicuous  in  the  mass  being  a  soldier  who  is  falling 
wounded. 

Signed  at  the  lower  left,  P.  Grolleron. 


HAGAR  AND  ISHMAEL 

JOHANN  GRUND 

AUSTRIAN  1808—? 


JOHANN  GRUND 

AUSTRIAN  1808—? 


I 


HAGAR  AND  ISHMAEL 

Height,  58}^  inches;  width,  50j^  inches. 

Clasping  her  child  in  her  arms,  Hagar  is  seated  facing  the  spectator,  her  head 
turned  slightly  to  the  right,  the  eyes  lifted,  as  if  she  were  scanning  the  desert 
for  succor.  Her  dark  brown  hair  falls  loosely  over  her  bare  shoulders,  one  of 
which  is  raised  in  the  strain  of  supporting  her  burden.  The  child  has  one 
hand  extended  over  the  full  white  sleeve  of  his  mother's  bodice,  while  his 
slender  body,  nude  but  for  a  loin-cloth  of  reddish  brown  drapery,  lies  limp  in 
an  attitude  of  exhaustion  upon  the  voluminous  deep  blue  mass  of  the  mother's 
skirt.  The  top  of  her  head  is  covered  with  a  creamy  cloth  that  glistens  brightly 
against  the  faintly  bluish  white  of  the  sky.  To  the  right  of  the  figure  is  a  large 
bundle,  wrapt  in  a  striped  olive  green  and  dull  red  blanket,  on  which  is  sus- 
pended a  double  gourd  bottle. 


LE  TEYERONE,  SOUYENIR  D'lTALIE 

HENRI  HARPIGNIES 

FRENCH  1819— 


HENRI  HARPIGNIES 

FRENCH  1819— 

LE  TEVERONE,  SOUVENIR  D'lTALIE 

Height,  48  inches;  length,  59  inches. 

A  NARROW  river,  its  crystal  waters  sparkling  in  the  brilliant  sunlight,  winds 
through  a  luscious  landscape  at  the  foot  of  a  noble  group  of  trees  of  heavy 
foliage.  The  nearer,  low  bank  in  the  foreground  has  taken  a  deep  emerald 
hue  under  the  umbrageous  canopy,  while  across  the  stream  the  higher  bank 
there  slopes  to  a  broad  meadow  bathed  in  sunshine,  and  revealing  tender 
greens,  with  suggestions  of  light  yellows,  in  its  luxuriant  vegetation.  Fleecy 
clouds  of  rounded  contours  float  in  a  turquoise  sky  over  hillside  and  meadow 
and  the  blue  summits  of  distant  mountains. 

Signed  at  the  lower  right,  Harpignies,  1898. 

Salon,  1898,  No.  1001. 

Collection  of  J.  Staats  Forbes,  London. 

Purchased  from  M.  Knoedler  &  Co. 


TULIP  CULTUEE 

GEORGE  HITCHCOCK 

AMERICAN  1850— 


GEORGE  HITCHCOCK 

AMERICAN  1850— 


TULIP  CULTURE 

Height,  43  inches;  length,  G6}^  inches 

A  Dutch  girl  is  standing  in  a  foreground  carpeted  with  tulips.  They  are 
planted  in  horizontal  bands  of  color,  beginning  with  rose,  and  passing  through 
white  and  pale  yellow  to  a  yellowish  pink.  Behind  the  last  runs  a  strip  of 
green,  backed  by  a  hedge  and  wall.  The  latter,  on  the  right  of  the  centre,  is 
interrupted  by  a  fence  and  a  gate,  which  leads  to  a  substantial  cottage,  with 
a  blue  door  and  walls  covered  with  plaster  that  in  places  has  broken  away  and 
shows  the  bricks  beneath.  Beyond  the  wall  on  the  left,  is  a  screen  of  slender 
trees,  through  which  appears  a  row  of  brown  and  gray  houses.  Four  young 
fruit  trees,  fledged  with  early  green,  are  disposed  irregularly  in  front  of  the 
cottage.  The  girl's  head,  seen  in  profile,  facing  to  the  right,  is  covered  with  a 
dainty  lace  and  muslin  cap.  A  gray  cape,  lined  with  cool,  dull  blue,  reaches 
to  a  little  below  the  waist  of  her  heliotrope-gray  gown.  She  holds  a  pair  of  scissors. 

Signed  and  dated  at  the  lower  right,  Geo.  Hitchcock,  1887. 
Honorable  mention.  Salon  1887;  Medal,  Paris  Centennial;  Medal,  Columbian  Exposition. 


GOOD  COMRADES 

'JOSEF  ISRAELS 

DUTCH  1824-1911 


JOSEF  ISRAELS 

DUTCH  1824-1911 

GOOD  COMRADES 

Height,  43}^  indies;  length,  59}^  inches. 

A  FISHERMAN,  left  in  charge  of  the  baby,  is  captivating  its  interest  with  a  toy 
soldier.  The  child  is  seated  in  one  of  the  baby-chairs  characteristic  of  a  Dutch 
household,  her  head,  incased  in  a  rosy  cream  cap,  showing  against  the  blue 
scroll-work  of  the  chair-back.  Her  hands  are  laid  on  the  tray  in  front  of  her, 
as  she  eagerly  watches  the  red  and  blue  figure,  which  is  held  erect  by  the 
fisherman.  The  latter  wears  a  silvery  blue  woolen  cap  and  jersey,  the  short 
sleeve  of  which  displays  a  red  undersleeve.  His  figure,  seen  to  a  little  below 
the  knee,  leans  forward  in  an  armchair,  so  that  his  face  is  in  profile,  looking 
toward  the  right.  Behind  the  child's  seat,  on  the  right,  is  partly  visible  a 
chair,  on  which  lies  some  knitting.  The  wall  of  the  room  is  of  dark  grayish 
olive  tone,  broken  with  silvery  lights. 

Signed  low  down  on  the  side  of  the  child's  seat,  Josef  Israels. 

Salon  1877.  No.  1905. 

Collection  of  George  I.  Seney,  Sale  of  1891,  No.  298. 
Collection  of  P.  A.  B.  Widener. 
Purchased  from  M.  Knoedler  &  Co. 


FIEST  STEPS 

JOSEF  ISRAELS 

DUTCH  1824-1911 


JOSEF  ISRAELS 

DUTCH  1824-1911 


FIRST  STEPS 

Height,  20  inches;  width,  13  inches. 

A  YOUNG  Dutch  mother  is  solicitously  guiding  the  first  steps  of  her  child,  who 
toddles  along  just  in  front  of  her  feet.  Beyond  the  group,  which  is  in  sunlight, 
is  a  grassy  field,  inclosed  by  a  low  board  fence,  with  linen  spread  out  to  dry 
near  a  row  of  steep-roofed,  red-tiled  cottages,  which  extend  across  the  picture. 
The  mother  wears  a  black  petticoat,  a  kerchief  of  the  same  color  over  a  white 
chemise,  and  a  closely  fitting  lace  cap,  and  the  child  wears  only  a  shirt  and 
cap,  both  of  white  linen. 

Signed  at  the  lower  left,  Josef  Israels. 

Collection  of  J.  Staats  Forbes,  London. 
Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


THE  YOUNG  MOTHER 

JOSEF  ISRAELS 

DUTCH  1824-1911 


JOSEF  ISRAELS 

DUTCH  1824-1911 


THE  YOUNG  MOTHER 

Water-Color 
Height,  15  inches;  width,  11  inches. 

A  YOUNG  Dutch  woman  is  seated  behind  a  rude  kitchen  table,  on  which  are 
a  jug  and  a  dish  of  coarse  pottery,  holding  in  her  arms  an  infant  which  she 
is  feeding  with  a  spoon.  The  figures  are  strongly  lighted  from  the  upper  right, 
and  in  the  background  are  suggested  a  draped  bed  and  an  open  fireplace,  with 
Delft  plates  and  other  articles  on  the  shelf  above. 

Signed  at  the  lower  left,  Josef  Israels. 

Collection  of  J.  Staats  Forbes,  London. 
Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


THE  FISHER  GIRL 

JOSEF  ISRAELS 

DUTCH  1824-1911 


JOSEF  ISRAELS 

DUTCH  1824-1911 


THE  FISHER  GIRL 

Height,  16  inches;  vxidth,  10  inches. 

Barefoot  in  a  meadow  which  overlooks  the  sea,  a  fisher-girl  stands  gazing 
out  upon  the  misty  water.  She  is  seen  in  profile,  facing  to  the  left,  and  car- 
ries on  her  back  a  basket  which  she  steadies  with  her  left  hand.  The  sturdy 
figure  is  clad  in  a  dark  brown  skirt  and  blue  apron,  while  her  bodice  and  cap 
are  of  a  soft  lavender  gray,  silhouetted  against  the  blue-tinged  white  of  the 
sky. 

Signed  near  the  lower  right,  Josef  Israels. 

Collection  of  Alexander  Young,  London. 


THE  BASHFUL  SUITOR 

JOSEF  ISRAELS 

DUTCH  1824-1911 


JOSEF  ISRAELS 

DUTCH  1824-1911 


THE  BASHFUL  SUITOR 

Height,  lOj^  inches;  width,  14}^  inches. 

A  Dutch  peasant  girl  and  lad,  both  dressed  in  the  rough  garments  indicating 
a  life  of  toil,  are  walking  along,  side  by  side,  in  the  light  of  the  late  afternoon 
sun,  which  casts  long  shadows  on  the  path.  Behind  the  figures  is  a  row  of  small 
trees,  and  further  away  a  field  of  long,  luxuriant  grass,  which  extends  to  the 
horizon. 

Signed  at  the  lower  right,  Josef  Isra.els. 

Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


THE  YOUNG  MOTHEK 

JOSEF  ISRAELS 

DUTCH  1824-1911 


JOSEF  ISRAELS 

DUTCH  1824-1911 


THE  YOUNG  MOTHER 

Water-Color 
Height,  12  inches;  width,  9  inches. 

A  PEASANT  woman,  holding  an  infant  on  her  right  shoulder,  stands  near  a 
low  rail  fence,  with  her  back  to  the  spectator,  gazing  across  the  distant  land- 
scape as  if  awaiting  the  return  of  the  farmer  from  the  fields,  which  stretch 
away  in  flat,  unbroken  monotony  to  the  distant  horizon.  On  the  right  a  tall, 
slender  tree  rises  out  of  the  picture.  The  sky  is  covered  with  a  luminous  haze, 
in  which  float  a  few  clouds. 

Signed  at  the  lower  left,  Josef  IsRAiiLS- 

Collection  of  J.  Staats  Forbes,  London. 
Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


KETURNING  FROM  WORK 

JOSEF  ISRAELS 

DUTCH  1824-1911 


JOSEF  ISRAELS 

DUTCH  1824-1911 


RETURNING  FROM  WORK 

Water- Color 
Height,  11^  inches;  width,  9  inches. 

A  PEASANT  woman,  bearing  on  her  back  a  tall  basket  apparently  filled  with 
vegetables,  is  walking  in  the  dusk  of  evening  along  a  narrow  road,  which  leads 
across  open  country  to  a  small  farmhouse  that  can  be  seen  in  the  distance. 
She  is  clad  in  a  rough  dress  of  brown  homespun,  with  a  blue  apron  and  wooden 
sabots,  and  her  back  is  bent  under  the  load  of  her  heavy  basket.  On  either 
side  of  the  road  small,  slender,  leafless  trees  rise  against  the  sky,  which  glows 
with  the  rosy  light  of  the  setting  sun,  reflected  against  the  lower  edge  of  a 
deep  stratum  of  clouds. 

Signed  at  the  lower  right,  Josef  Israels. 

Collection  of  J.  Staats  Forbes,  London. 
Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


4 


FLOCK  OF  SHEEP  OX  THE  EDGE  OF 
THE  WOODS 

CHARLES  EMILE  JACQUE 


FRENCH  1813-1894 


CHARLES  fiMILE  JACQUE 

FRENCH  1813-1894 


FLOCK  OF  SHEEP  ON  THE  EDGE  OF  THE  WOODS 

Height,  27j^  inches;  length,  403^  inches. 

The  foreground  of  rich  juicy  grass  is  dotted  with  sheep,  and  amidst  them 
the  shepherd,  wearing  a  gray-bhie  blouse,  stands  leaning  on  his  staff.  Be- 
hind is  a  mass  of  brilliant  green  foliage,  clustering  around  a  trunk  from 
which  the  top  has  been  broken.  It  is  backed  by  the  darker  green  of  a  tall 
tree,  one  of  a  group  of  handsome  oaks,  which  closes  in  the  scene  on  the  right. 
This  mass  of  foliage,  where  it  terminates  on  the  left,  is  of  a  golden  hue.  Here 
a  small  detached  tree  shows  against  the  cold  dove  gray  of  the  sky.  The  latter 
is  broken  with  a  little  white,  but  overhead  passes  into  a  lowering  slaty  hue. 
Near  the  centre  appear  three  birds  in  flight. 

Signed  at  the  lower  right,  Ch.  Jacque. 

Collection  of  Cronan  of  Mantes 
Purchased  from  M.  Knoedler  &  Co. 


IN  THE  FOREST  OF  FONTAINEBLEAU 

CHARLES  EMILE  JACQUE 

FRENCH  1813-i894 


CHARLES  fiMILE  JACQUE 

FRENCH  1813-1894 

IN  THE  FOREST  OF  FONTAINEBLEAU 

Height,  31  inches;  width,  243^  inches. 

An  immense  oak  tree  rises  from  a  knoll  in  the  foreground,  and  with  its  tangled 
branches  and  dense  foliage  covers  a  large  part  of  the  sky  and  extends  out  of 
the  picture.  Broken  branches  and  various  scars  denote  its  great  age,  and  its 
size  is  made  apparent  by  the  figure  of  a  child  crouching  near  the  trunk,  and  a 
flock  of  sheep  scattered  over  the  grass  near  by.  A  shaft  of  sunlight  strikes  the 
tree  and  the  little  knoll,  casting  a  deep  shadow  on  an  irregular  bank  of  bushes 
beyond  to  the  left,  and  over  the  foreground  to  the  right.  In  the  distance  is  a 
flat  plain  with  a  sunlit  hillside  in  the  horizon.  The  sky  is  covered  with  rolling 
masses  of  cumuli,  brilliantly  illuminated  by  the  sun  behind  the  oak. 

Signed  at  the  lower  left,  Ch.  Jacque. 

Collection  of  Edward  M.  Knox,  1906. 


I 

L 


I 


I  i 


THE  CHRISTENING 

PROFESSOR  LUDWIG  KNAUS 

GERMAN  182&-1910 


PROFESSOR  LUDWIG  KNAUS 

GERMAN  1829-1910 


THE  CHRISTENING 

Height,  45  inches;  length,  60  inches. 

An  animated  representation  of  a  christening  feast  in  a  small  German  cottage. 
Beside  a  table  upon  which  is  spread  the  remains  of  the  meal  sits  the  black- 
robed  pastor,  his  straggling  silvery  locks  framing  a  rugged  but  kindly  face;  in 
his  arms  he  holds  the  infant,  closely  swaddled  in  its  robes  and  blankets  and 
lying  on  a  lace-edged  pillow.  The  pair  form  the  centre  of  interest  to  all  the 
guests.  Over  his  shoulders  lean  an  old  man  and  woman,  probably  the  grand- 
parents, and  behind  them  a  young  girl  in  a  red  cap.  By  the  pastor's  knee  a 
tiny  maiden  stands  on  tiptoe  to  get  a  peep  at  the  wonderful  new  baby.  On 
the  right  in  an  easy-chair,  in  a  dress  of  spotless  white  worn  over  a  pink  petti- 
coat and  girt  at  the  waist  by  a  broad  sash,  sits  the  young  mother,  a  pretty 
young  woman  still  showing  in  her  pale  face  the  traces  of  her  recent  sickness. 
Beside  her  sits  her  husband,  his  eyes  fastened  on  the  child,  while  he  dips  a 
piece  of  bread  in  his  teacup  to  feed  a  little  girl  sitting  on  his  lap.  A  small  boy 
with  an  armful  of  apples  stands  at  his  elbow,  and  in  the  background  are 
grouped  other  figures,  old  and  young.  The  light  entering  from  some  window 
high  up  on  the  left  strongly  illumines  the  group,  bringing  into  prominence 
the  white  dress  of  the  mother,  casting  a  mellow  glow  over  the  faces  of  the 
pastor  and  the  old  grandparents,  and  showing  the  humble  but  comfortable 
furnishings  of  the  room. 

Signed  at  the  lower  left,  L.  Knaus,  1860. 

Collection  of  the  late  John  T.  Martin,  1909. 


BKOOD  OF  DUCKLINGS 

WILLEM  MARIS 

DUTCH  1844-1910 


WILLEM  MARIS 


DUTCH  1844-1910 

BROOD  OF  DUCKLINGS 

Water-Color 
Height,  8  inches;  width,  5  inches. 

A  WHITE  duck,  with  her  brood  of  newly  hatched  ducklings,  stands  on  the 
grassy  bank  of  a  broad  canal  or  inlet,  under  a  clump  of  pollard  willow  trees, 
which  rise  out  of  the  picture  on  the  left.  Beyond  the  duck  a  fringe  of  reeds 
and  rushes,  growing  on  the  water's  edge,  serves  to  conceal  the  brood  from 
curious  eyes,  and  across  the  broad  expanse  of  water  is  seen  the  line  of  a  low 
plain,  with  the  lofty  structure  of  a  windmill. 

Signed  at  lower  left,  Willem  Maris. 

Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


cows  IN  PASTUEE 

WILLEM  MARIS 

DUTCH  1844-1910 


WILLEM  MARIS 

DUTCH  1844-1910 


COWS  IN  PASTURE 

Height,  7  indies;  length,  lOj^  inches. 

In  a  green,  well-watered  pasture  bounded  by  low  hills  a  herd  of  cows  are 
grazing,  a  group  of  birds  flying  low  over  them.  In  the  foreground  two  cows,  a 
red  and  white  one  and  a  black  one  with  a  white  face,  have  come  to  the  edge 
of  a  brook  to  drink.  White-face  has  pushed  aside  some  reeds  at  the  water's 
edge  and  is  drinking  while  solemnly  watching  the  spectator.  The  red  cow 
stands  at  the  brink,  athwart  the  picture,  her  attention  attracted  by  something 
across  the  stream.  The  painting  is  on  a  panel. 

Signed  at  the  lower  left,  Willem  Maris. 

Collection  of  Mr.  and  Mrs.  John  V.  L.  Pruyn,  1910. 


1 


!l 
I 


UNDEE  THE  WILLOWS 

WILLEM  IVIARIS 

DUTCH  1844-1910 


WILLEM  MARIS 

DUTCH  1844-1910 


UNDER  THE  WILLOWS 

Height,  23^  inches;  length,  44  inches. 

Under  a  hazy  sky  of  springtime  is  shown  a  broad  expanse  of  lowland  meadows, 
with  scarcely  a  suggestion  of  slightly  rising  ground  in  the  distance,  appearing 
in  a  faint  blue  against  the  grayish  horizon.  The  meadows  are  green  in  varied 
tones  and  through  them  comes  a  shallow  brook,  broadened  in  the  immediate 
foreground,  where  it  occupies  all  but  the  whole  of  the  canvas.  Here,  in  the 
centre  of  the  composition,  in  the  cool  water  and  under  the  scant  shade  of  a 
line  of  trees  which  edge  the  stream  at  the  right,  four  cows  stand  in  placid 
comfort.  A  white  one  tipped  with  black,  facing  away  from  the  spectator,  has 
raised  her  head  to  nibble  at  tender  shoots  of  the  young  foliage.  Another  of  like 
coloring,  which  appears  in  different  values  in  the  higher  light  beyond  the 
trees,  is  drinking  of  the  waters  at  her  feet  between  two  other  cows,  one  red  and 
one  black,  all  facing  to  the  left,  where,  out  of  the  water  and  heedless  of  them, 
another  cow  pokes  her  nose  through  a  break  in  a  farm  fence.  The  day  is  quiet, 
with  just  a  trace  of  motion  in  the  slow  flight  of  a  bird  or  the  drift  of  an  occa- 
sional leaf. 

Signed  at  the  lower  left,  Willem  IMahis. 

Exhibited  at  the  Dutch  and  French  Exhibition,  (No.  181),  Edinburgh,  1886,  and  engraved  in  the  catalogue. 
Collection  of  William  Mylin. 

Collection  of  the  late  Thomas  McDougal,  of  Dallhousie  Castle. 


1 


HOLLAND  MEADOWS 

ANTON  MAUVE 

DUTCH  1838-1888 


ANTON  MAUVE 

DUTCH  1838-1888 


HOLLAND  MEADOWS 

Height,  34}^  inches;  length,  54  inches. 

This  picture,  which  remained  for  a  long  time  in  the  studio  of  the  artist,  and 
was  considered  by  him  to  be  one  of  his  best  productions,  shows  a  characteristic 
scene  in  the  broad  plain  of  Holland  under  a  moist  sky  full  of  low-hanging 
summer  clouds.  In  the  foreground  a  group  of  spotted  cows  reposes  in  the 
sunlight  after  a  morning's  browse  on  the  rich  grass  of  the  meadow.  In  the 
middle  distance  on  the  left  is  a  clump  of  trees  overhanging  the  entrance  to 
a  pasture  beyond.  The  wide,  level  meadow  which  stretches  away  to  a  low 
horizon  in  the  extreme  distance  is  dotted  with  cattle,  and  among  the  trees 
on  the  sky  line  on  the  right  are  suggestions  of  a  tree-shaded  village. 


Collection  of  David  H.  King,  Jr.,  1905. 


Signed  at  the  lower  right,  A.  Mauve  pt. 


TENDING  THE  ELOCK 

ANTON  MAUVE 

DUTCH  1838-1888 


ANTON  MAUVE 

DUTCH  1838-1888 

TENDING  THE  FLOCK 

Water-Color 
Height,  123^  inches;  width,  8  inches. 

An  old  shepherd  in  greatcoat,  fur  cap  and  wooden  shoes,  stands  leaning  on 
his  massive  staff  near  a  group  of  tall,  slender  trees,  which  grow  on  the  bank  of 
a  narrow  canal  and  rise  out  of  the  picture.  Just  beyond  him  a  small  flock  of 
sheep  huddles  together  on  the  brink  of  the  steep  grassy  bank,  which  slopes 
down  to  the  water's  edge.  In  the  distance,  on  the  right,  a  wooden  bridge  spans 
the  canal,  and  on  the  left  is  seen  the  corner  of  a  large  wood. 

Signed  at  lower  right,  A.  Mauve. 


Collection  of  J.  Staats  Forbes,  London. 
Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


THE  HAY  STACKS 

JEAN  FRANCOIS  MILLET 

FRENCH  1814-1875 


JEAN  FRANgOIS  MILLET 

FRENCH  1814-1875 


THE  HAY  STACKS 

Height,  33}/^  inches;  length,  433^  inches. 

At  a  little  distance  from  the  hamlet,  whose  red  and  green  tiled  roofs  are  seen 
at  the  right,  three  hay  stacks  have  been  erected  on  the  level  farm  land,  over 
which  their  fat  bulk  throws  shadows.  In  the  shade  of  one  of  them  a  red-capped 
shepherd  is  leaning  on  a  stick,  and  here  and  there  about  him  sheep  are  grazing. 
It  is  a  Barbizon  plain  motive.  Overhead  a  black,  menacing  cloud  is  being 
driven  by  the  wind,  threatening  a  violent  storm,  but  all  the  landscape  in  the 
picture  is  in  a  bright,  diffused  light. 

Signed  at  the  lower  right,  J.  F.  Millet. 

Purchased  from  the  artist  by  Mr.  Fred  Hartmann,  of  Paris. 

Hartmann  collection,  Paris,  1881.  Engraved  by  Champollion. 

J.  F.  Millet  exhibition,  Paris,  1887,  (under  the  title  " U Automne") ,  No.  55. 

Centennial  Exhibition  of  French  Art,  Paris,  1889. 

Cent  CJiefs-d'CEuvre  des  Collections  Frangaises  et  Etrangeres,  Georges  Petit,  Paris,  1892. 
Collection  of  Mme.  Samson-Davilliers. 
Purchased  from  M.  Knoedler  &  Co. 


THE  EETKEAT  FROM  THE  STORM 

JEAN  FRANCOIS  MILLET 

FRENCH  1814-1875 


JEAN  FRANCOIS  MILLET 

FRENCH  1814-1875 


THE  RETREAT  FROM  THE  STORM 


Height,  18  inches;  width,  15  inches. 


A  PEASANT  woman  and  her  son,  who  have  been  in  the  forest  gathering  fag- 
gots, have  been  caught  in  the  first  fierce  gusts  of  a  wintry  gale,  and  they  fight 
their  way  homeward  against  the  increasing  blast.  The  mother  supports  the 
child,  who  is  nearly  exhausted  in  the  struggle,  by  clutching  his  right  arm  at 
the  elbow.  With  a  sturdy  stride  the  vigorous  peasant  woman  bends  her  head 
to  the  gale,  holding  the  faggots  in  her  blue  apron,  tightly  clasping  the  burden  to 
her  breast.  Her  red  petticoat  is  swept  across  her  knees,  and  a  large  white 
shawl  enveloping  her  head  flutters  far  behind  her  in  the  wind.  The  light  falls 
strongly  upon  the  group  from  the  left,  bringing  into  vigorous  relief  the  flesh 
and  the  wind-tossed  drapery  against  a  lowering  sky  and  sombre  landscape. 

Signed  at  the  lower  left,  J.  F.  Millet. 

Collection  of  M.  Setmour,  Paris. 
Collection  of  M.  Varnier,  Rheims. 
Collection  of  the  late  H.  S.  Henry,  1907. 


I 


IN  CALIFORNIA 

WILLIAM  L.  PICKNELL,  N.A. 

AMERICAN  1852-1897 


WILLIAM  L.  PICKNELL,  N.A. 

AMERICAN  1852-1897 


IN  CALIFORNIA 

Height,  50  inches;  length,  67  inches. 

A  WIDE  sandy  road  stretches  straight  as  an  arrow  through  the  centre  of  the 
picture,  bordered  on  either  side  by  verdant  meadows  and  separated  from  them 
by  a  rail  fence.  A  ramshackle  carrier's  cart  drawn  by  four  horses  is  going 
directly  away  from  the  spectator  towards  a  range  of  lofty  hills  which  domi- 
nates the  landscape,  their  craggy  sides  glowing  purple  through  the  heat  haze. 
The  sky  overhead  is  an  intense  blue,  dotted  with  tiny  cloudlets;  the  sun  is 
some  way  from  the  meridian  and  casts  long  shadows  athwart  the  scene,  while 
from  a  one-storied  cottage  in  the  middle  distance  a  light  wisp  of  smoke  ascends 
directly  into  the  still  air,  in  which  not  the  slightest  zephyr  is  astir. 

Signed  at  the  lower  left,  Wm.  L.  Picknell. 

Collection  of  the  late  Warren  Sherburne,  1909. 


[ 


I 


I 


THE  YOUNG  KITCHEN  MAIDS 

E.  PIETERS 

DUTCH  1856— 


E.  PIETERS 

DUTCH  1856— 


THE  YOUNG  KITCHEN  MAIDS 

Height,  29  inches;  length,  35  inches. 

Near  a  small  window  in  a  characteristic  Dutch  kitchen  are  two  young  girls, 
one  seated  and  one  standing,  engaged  in  peeling  potatoes  for  the  noonday  meal. 
Nearby  two  roosters  and  a  hen  have  wandered  into  the  kitchen  from  the 
barnyard  and  are  looking  for  scraps  on  the  floor.  In  the  background,  on  the 
left,  in  an  open-tiled  fireplace  hangs  a  huge  kettle  over  a  smouldering  fire, 
and  nearby  are  assembled  various  articles  of  domestic  use.  The  interior  is 
strongly  lighted  from  the  right  by  a  window,  part  of  which  is  seen,  with  the 
reflections  on  its  broad  sill,  in  the  upper  corner  of  the  picture. 

Signed  at  the  lower  right,  E.  Pietehs. 

Collection  of  Charles  H.  Dickey,  1907. 


4 


BOSQUET  D'ARBRES 

THEODORE  PIERRE  ETIENNE  ROUSSEAU 

FRENCH  1812-1867 


THEODORE  PIERRE  ETIENNE  ROUSSEAU 

FRENCH  1812-1867 

BOSQUET  D'ARBRES 

Height,  16J^  inches;  length,  25  inches. 

In  this  fine  example  of  Rousseau's  art  he  has  shown  us  his  great  analytical 
skill  at  its  highest,  the  details  of  herbage,  of  trees,  even  of  rocks  and  stones, 
being  executed  with  the  utmost  fidelity.  It  is  withal  a  most  artistic  con- 
ception, showing  in  every  brushmark  the  hand  of  him  whom  all  his  contem- 
poraries acknowledged  as  master  of  them  all.  Through  the  level  country- 
side a  narrow  river  wends  its  placid  way.  A  few  cows  crop  the  sparse  herbage 
which  grows  upon  the  rock-strewn  meadow  or  drink  from  the  many  pools 
which  bejewel  the  foreground.  In  the  middle  distance  a  few  trees  grow  out- 
lined against  the  sky,  making  the  absolute  flatness  of  the  landscape,  if  any- 
thing, more  accentuated  by  their  presence.  The  sky  is  a  grayish  blue,  largely 
overspread  by  the  filmiest  of  fleecy  white  clouds,  the  azure  of  its  brightest 
spots  being  repeated  in  the  waters  of  the  pools. 

Signed  at  the  lower  left,  Th.  Rousseau. 

Purchased  from  William  Schaus,  1881. 
Collection  of  the  late  Theron  R.  Butler,  1910. 
Purchased  from  M.  Knoedler  &  Co.,  1910. 


I 


A  SPANISH  NOBLEMAN 

FERDINAND  ROYBET 

FRENCH  1840— 


FERDINAND  ROYBET 

FRENCH  1840— 


A  SPANISH  NOBLEMAN 

Height,  24  inches;  width,  17)^  inches. 

A  DIGNIFIED  man  dressed  in  a  rich,  black  costume  of  the  sixteenth  century 
stands  before  a  writing  table  in  a  room  with  tapestried  walls  of  olive  tone.  The 
table  is  covered  by  a  tapestry  elaborately  woven  in  escutcheons.  From  the 
inkwell  leans  a  long  quill  pen.  The  man,  with  an  air  of  some  hauteur,  stands 
with  light  foot  advanced,  looking  squarely  at  the  spectator,  his  head  held  well 
back.  His  right  hand  planted  on  his  hip,  the  bended  elbow  reveals  the  bright 
undercolor  of  his  slashed  sleeve.  A  broad  white  ruff  stands  out  from  his  shoul- 
ders and  falls  low  over  his  chest,  nearly  matched  in  width  by  the  heavy,  rolled 
brim  of  his  black  hat  which  is  pushed  back  from  his  forehead.  His  velvet  cloak, 
hanging  from  the  left  shoulder,  enwraps  his  body,  passing  beneath  his  right 
arm.  At  the  left  appears  the  corner  of  a  heavily  carved  sideboard  or  escritoire. 


Collection  of  the  late  Peter  A.  Schemm. 


Signed  at  the  lower  right,  F.  Roybet. 


BULGARIAN  SMUGGLERS 

ADOLPHE  SCHREYER 

GERMAN  1828-1899 


ADOLPHE  SCHREYER 

GERMAN  1828-1899 


BULGARIAN  SMUGGLERS 

Height,  33}/2  inches;  length,  55  inches. 

On  a  rough  rocky  eminence  a  band  of  Bulgarian  smugglers,  with  their  shaggy, 
unkempt  horses,  have  halted  on  one  of  their  unlawful  excursions.  A  strong 
gale  is  blowing  and  the  horses  are  huddled  together  for  shelter,  while  two  of 
the  smugglers  are  seated  on  the  rocks  nearby  in  attitudes  of  patient  expecta- 
tion. On  the  right  of  the  scene,  beyond  a  pony  scrambling  breathlessly  to  the 
summit,  is  a  view  over  a  sunlit  plain,  with  a  dimly  seen  collection  of  buildings, 
evidently  the  first  frontier  town. 

Signed  at  the  lower  right.  Ad.  Schreyeb. 

From  William  Schatjs,  New  York,  1881. 
Collection  of  the  late  Heber  R.  Bishop,  1906. 


4 

I 


A  HALT  IN  WALLACHIA 

ADOLPHE  SCHREYER 

GERMAN  1828-1899 


ADOLPHE  SCHREYER 

GERMAN  1828-1899 


A  HALT  IN  WALLACHIA 

Height,  17 inches;  length,  30  inches. 

Snow  is  scattered  over  the  level  country  and  glistens  on  the  thatched  roof  of 
a  cheerless  hut  which  occupies  the  left  of  the  foreground.  Before  the  closed 
door,  as  if  trying  to  open  it,  stands  a  Wallachian  horseman,  holding  the  bridle 
of  his  mount,  a  white  horse,  with  greenish-blue  saddle  cloth  showing  under 
the  saddle's  sheepskin  covering.  Just  back  of  this  horse  is  a  black  one  with 
pack  saddle;  while  a  little  to  the  right  is  the  man's  companion,  still  in  the 
saddle,  with  his  pack  horse  beside  him.  A  little  black  dog  is  seated  with  his 
back  to  the  spectator,  watching  the  door.  In  the  near  distance  on  the  right, 
seen  through  the  misty  atmosphere,  appears  a  long,  low-pitched  roof  with  two 
wooden  chimneys. 

Signed  on  the  lower  left,  Ad.  Schreyer. 

Purchased  from  Hermann  Schaus. 


i 


♦ 

1 


BRIDGE  AT  YERONA 

FRITZ  THAULOW 

NORWEGIAN  1847-1906 


FRITZ  THAULOW 

NORWEGIAN  1847-1906 


BRIDGE  AT  VERONA 

Height,  25  inches;  length,  32  inches. 

This  is  a  view  of  the  famous  old  bridge,  with  its  stone  arches  and  parapet  of 
red  brick,  spanning  the  rapid  river.  The  water  rushes  through  the  arches 
with  an  oily  smoothness  and  breaks  at  once  into  a  thousand  swirling  eddies, 
filled  with  a  multitude  of  reflections.  On  the  left  of  the  picture  where  the 
bridge  meets  the  further  bank  a  row  of  lofty  houses,  dominated  by  a  square 
tower,  pierced  with  an  archway,  rises  high  against  a  blue  sky,  in  which  float 
a  few  luminous  cumuli. 

Signed  at  the  lower  right,  Fritz  Thaulow. 

Collection  of  Mrs.  Anna  N.  Kendall,  1907. 


LA  CHARRETTE  DE  FOIN 

CONSTANT  TROYON 

FRENCH  1810-1865 


CONSTANT  TROYON 

FRENCH  1810-1865 


LA  CHARRETTE  DE  FOIN 

Height,  30^  inches;  length,  44  inches. 

The  lower  sky  is  filled  with  grayish  vapor,  which  grows  whiter  toward  the 
zenith  and  shows  intervals  of  blue.  There  is  a  stir  of  breeze,  but  the  light, 
though  veiled,  is  warm  and  gives  a  liquid  quality  to  all  the  hues.  In  the 
foreground  lies  a  stick  of  timber,  at  the  end  of  which  a  brown  dog  and  a 
white  one  stand  facing  each  other.  Beyond  them  a  stream  of  shallow  water 
crosses  the  picture,  its  surface  sprightly  with  reflected  tints.  A  white  cart- 
horse, a  blue  cloth  edged  with  red  on  its  back  and  a  blue  coat  hanging  over 
the  flap  of  the  collar,  is  standing  in  the  water.  The  waggoner  is  seen  behind 
it,  dressed  in  a  blue  blouse  and  golden  brown  breeches.  He  holds  up  a  stick  as 
he  turns  the  horse  with  its  head  down  stream,  so  that  two  oxen  which  are 
yoked  behind  it  may  have  free  way  with  the  hay-cart  which  they  are  dragging 
down  the  little  slope  that  leads  to  the  water.  One  of  the  oxen  is  a  pale  dun,  its 
yoke-mate  white  with  a  reddish  brown  head  and  neck.  The  two-wheeled  cart 
is  piled  high  with  hay  that  glistens  in  various  tones  of  green.  Behind  the  cart 
follows  a  man  in  shirt  sleeves,  with  a  fork  over  his  shoulder,  accompanied  by 
a  woman  in  a  brownish  plum  dress,  white  cap  and  apron,  and  a  boy  who  is  frisk- 
ing with  a  dog.  Behind  this  group  the  meadow  recedes  to  dull  purplish  hills 
along  the  horizon,  which  approach  nearer  on  the  right  and  become  green.  The 
scene  is  inclosed  on  the  right  by  the  end  of  a  thatched  barn,  its  drab  walls 
rising  close  beside  the  stream.  Near  it  stand  four  slender  trees  with  delicate 
leafage  that  grow  out  of  a  mass  of  deep  green  shrubbery. 

Signed  on  the  lower  left,  C.  Troyon. 

Collection  of  Prince  Worouzoff,  Florence. 
Collection  of  Alexander  Young,  London,  1906. 
Illustrated  in  the  International  Studio,  November,  1906. 
Collection  of  the  late  H.  S.  Henry,  1910. 


RETUENING  FROM  MARKET 

EMILE  VAN  MARCKE 

FRENCH  1827-1890 


EMILE  VAN  MARCKE 

FRENCH  1827-1890 


RETURNING  FROM  MARKET 

Height,  38  inches;  length,  56  inches. 

In  the  foreground  a  sturdy  spotted  bull,  ring  in  nose,  is  moving  with  heavy 
dignity  along  a  rough  seaside  road,  followed  by  a  cow  and  accompanied  by 
a  flock  of  bleating  sheep.  Just  behind  this  group  of  animals,  which  is  in  a 
strong  effect  of  sunlight,  is  seen  the  farmer's  horse  with  panniers,  upon  which 
sits  his  daughter.  The  farmer  himself  trudges  nearby,  struggling  to  keep  his 
hat  on  his  head  in  the  heavy  gale.  In  the  middle  distance  is  a  small  bay  of 
the  sea,  with  flat-topped  hills  beyond,  and  the  water  is  roughened  by  the 
strong  wind,  which  drives  a  mass  of  lowering  clouds  across  the  horizon  and 
over  the  hilltops  at  the  left. 

Signed  at  the  lower  left,  Em.  Van  Marcke. 

Collection  o/  Edward  M.  Knox,  1906. 


i 


cows  EETURNING  HOME 

Emile  van  marcke 

FRENCH  1827-1890 


EMILE  VAN  MARCKE 

FRENCH  1827-1890 


COWS  RETURNING  HOME 

Height,  \5}/2  inches;  length,  19j^  inches. 

Cows  are  approaching  along  a  sandy  path,  irregularly  fringed  with  grass, 
which  extends  back  through  the  right  of  the  composition.  The  leader  is  a 
black  one  with  white  face,  and  following  close  behind  comes  an  all-white  cow, 
accompanied  by  a  tawny-dun  heifer.  Further  back  is  a  single  beast,  passing 
a  fence  and  trees  which  line  the  right  side  of  the  path.  On  the  left  of  the  fore- 
ground group  stand  two  small  trees,  under  which  appears  a  tawny  cow  with 
white  face.  Behind  her  a  meadow  stretches  to  the  horizon. 


Purchased  from  Hermann  Schaus. 


Signed  at  the  lower  left,  Em  Van  Mahcke. 


A  PEACEFUL  DAY 

JOHANNES  HENDRIK  WEISSENBRUCH 

DUTCH  1824-1903 


JOHANNES  HENDRIK  WEISSENBRUCH 

DUTCH  1824-1903 


A  PEACEFUL  DAY 

Height,  7^  inches;  length,  11^  inches. 

From  the  right  foreground  a  broad  canal  extends  in  rapidly  diminishing 
perspective  to  the  central  horizon,  where  it  vanishes  in  a  belt  of  low  trees 
which  extend  across  the  picture,  their  line  broken  only  by  an  old-fashioned 
windmill.  Two  pollard  willows  on  the  left  help  to  accent  the  stunted  character 
of  the  vegetation  on  the  further  bank.  The  well-worn  towpath  is  empty,  save 
for  the  figure  of  a  solitary  man,  clad  in  the  costume  characteristic  of  the  Dutch 
peasantry,  while  to  either  bank  is  moored  one  of  the  flat-bottomed  boats 
typical  of  all  fenland  districts.  A  few  cirri  float  in  a  quiet,  sunlit  sky,  which 
is  reflected  from  the  calm  waters  of  the  canal. 

Signed  at  the  lower  right,  J.  H.  Weissenbhuch. 

Collection  of  Mrs  Anna  M.  Kendall,  1907. 


KIOSQUE  DES  EAUX  DOUCES 

FELIX  ZIEM 

FRENCH  1821-1911 


f£:lix  ziem 

FRENCH  1821-1911 


KIOSQUE  DES  EAUX  DOUCES 

Height,  32}/^  inches;  length,  51  inches. 

A  SMALL  pool  in  the  foreground  reflects  the  white  stucco  walls  of  a  handsome 
fountain.  Its  square  structure  curves  out  at  the  top  into  wide  eaves,  in 
the  hollow  of  which  are  drowsy  red-gold  shadows.  It  is  surmounted  by  a 
white  central  cupola,  and  four  smaller  ones.  A  figure  in  a  geranium-colored 
jacket  and  brown  skirt  stands  in  the  act  of  filling  a  blue  pitcher.  Other  gayly 
dressed  figures  are  disposed  upon  the  right,  the  centre  of  the  group  being  a 
hooded  wagon,  decorated  with  yellow  mouldings,  to  the  pole  of  which  are 
attached  two  white  oxen.  It  appears  to  be  a  harem  carriage,  and  the  ladies 
have  alighted  and  are  seated  on  the  ground.  At  the  back  of  this  vivacious 
scene  is  a  grove  of  golden  brown  and  yellow  trees,  beyond  the  trunks  of  which 
appears  a  horizontal  strip  of  deep  blue  water.  Its  further  bank  is  edged  with 
the  rosy  yellow  buildings  of  a  city,  the  sky  line  of  which,  on  the  right,  is 
interrupted  by  a  towering  mass  and  two  minarets,  which  glisten  white  against 
the  sky.  The  latter  is  bright  robin's  egg  blue,  streaked  with  lazy  layers  of 
white  and  cream. 

Signed  at  the  lower  right,  Ziem. 

Collection  of  Baron  de  Villars. 
Collection  of  P.  A.  B.  Widener. 
Purchased  from  M..  Knoedler  &  Co. 


VENICE 

FELIX  ZIEM 

FRENCH  1821-1911 


FfiLIX  ZIE3I 


FRENCH  1821-1911 

VENICE 

Height,  24  inches;  length,  35  inches. 

On  the  right  is  the  familiar  mass  of  the  ducal  palace  with  the  Campanile, 
and  the  water-front  of  the  Riva,  with  numerous  craft  of  all  descriptions  from 
the  fishing  boat  to  the  peasant's  barca.  On  the  left  are  various  gayly  deco- 
rated sailing  craft,  one  of  which,  a  prominent  object  in  the  composition,  is 
evidently  the  Bucentoro  heading  the  fleet  of  official  vessels  on  its  progress 
up  the  canal.  A  prominent  object  in  the  near  foreground  is  a  gondola  with 
two  oarsmen  and  a  party  of  gayly  dressed  men  and  women.  In  the  ex- 
treme distance  is  seen  the  entrance  to  the  Grand  Canal,  softened  by  the 
warm  summer  haze  which  covers  the  sky. 

Signed  at  the  lower  right,  Ziem. 

Collection  of  Edward  M.  Knox,  1906. 


FEAGMENT  OF  A  EEMAEKABLE  GOBELINS 

TAPESTEY 

ALEXANDER  ENTERING  BABYLON 


FRAGMENT  OF  A  REMARKABLE  GOBELINS  TAPESTRY 

ALEXANDER  ENTERING  BABYLON 

This  sturdy  fragment  of  a  resplendent  fabric  which  issued  from  the  Gobelins 
factory  in  the  days  of  its  glory  under  le  Grand  Monarque  gives  more  than  a 
hint  of  the  bigness  of  the  masterpiece  to  which  it  appertained.  Charles 
Le  Brun,  the  painter,  designer  of  the  most  beautiful  room  in  the  Louvre, 
whom  his  royal  master  placed  in  charge  of  the  Gobelins  works  after  their 
acquisition  by  the  Crown,  and  who  for  nearly  thirty  years  supplied  cartoons 
for  the  weavers  there,  painted  four  pictures  illustrative  of  the  war  between 
Alexander  the  Great  and  Darius  of  the  Persians.  Engravings  of  them  are  in 
the  museum  of  engravings  in  the  Bibliotheque  Nationale.  All  of  them  were 
interpreted  in  tapestry  at  the  Gobelins  works,  by  the  king's  order,  with  the 
royal  arms  of  France  marking  them. 

To  the  fourth  of  the  series,  the  most  sumptuous  of  its  members,  the  entry 
of  the  conquering  Macedonian  into  Babylon,  this  fragment  belonged.  The 
painter  conceived  a  pageant  comparable  to  a  Roman  Triumph  with  the 
splendor  of  mediaeval  color  and  the  rich  hues  of  later  ages.  It  has  been  said 
of  this:  "By  the  light  on  the  heads  of  the  soldiers  in  the  panel  one  can  in  a 
measure  appreciate  the  grandeur  of  the  whole  tapestry,  for  the  army  was  in 
gala  attire.  Arms  and  armor  highly  burnished,  banners  flying,  horses  stun- 
ningly caparisoned,  sumpter-animals  loaded  with  booty,  and  files  of  soldiers 
carrying  magnificent  vessels  of  gold,  all  led  by  the  youthful  Grecian  hero  who 
had  overrun  and  subdued  the  great  empire  of  the  illustrious  Cambyses." 


GOBELINS  TAPESTRY 

JACOB  DEMANDING  PERMISSION  OF  LABAN  TO  RETURN  TO 

HIS  OWN  COUNTRY 


GOBELINS  TAPESTRY 


JACOB  DEMANDING  PERMISSION  OF  LABAN  TO  RETURN  TO 

HIS  OWN  COUNTRY 

Height,  10  feet,  9  inches;  length,  11  feet,  4  inches. 

A  MAGNIFICENT  haute-Hsse  panel,  woven  at  the  Gobelins  ateliers  in  the  early 
part  of  the  reign  of  Louis  XIV,  before  the  purchase  of  the  factory  by  that 
monarch,  after  an  earlier  cartoon  which  if  it  was  not  the  work  of  Raphael  must 
indeed,  it  would  seem,  have  been  inspired  by  him.  The  heads  in  the  principal 
group  of  figures  are  superb,  the  figures  themselves  dignified  and  expressive, 
the  posturing  and  the  drawing  masterly.  The  author  of  the  cartoon  was  indu- 
bitably an  Italian  master  of  the  first  order,  and  the  weavers  were  among  the 
immediate  successors  of  those  brought  to  France  from  Italy  and  the  Nether- 
lands by  Henri  IV,  at  the  beginning  of  the  seventeenth  century.  The  fabric  is 
a  work  of  chromatic  brilliance  and  artistic  solemnity. 

Laban  and  Jacob  appear  as  important  men  of  an  early  pastoral  people,  but 
garbed  with  a  certain  freedom  in  the  rich  apparel  of  later  nobles,  in  serious 
discussion.  Jacob  points  to  the  right  with  extended  forefinger  to  something 
unseen.  Laban's  wife,  who  bids  adieu  to  their  daughter,  is  clad  in  a  yellow 
robe,  her  head  and  shoulders  draped  in  a  long  lilac  shawl.  The  robe  of  Rachel 
is  an  orange-yellow,  with  a  lace  collar,  over  it  falling  a  green  mantle  adorned 
with  floral  designs  representing  silver  embroidery.  The  flesh  tones  are  warm  and 
fresh.  The  landscape  background  in  blues,  greens,  and  yellows  is  delicately 
softened. 

With  all  the  strong,  full  color  of  the  gorgeous  apparel  of  the  leading  figures, 
and  the  green  of  the  palms  and  other  trees  that  mark  the  hilly  and  varied  land- 
scape, there  is  over  all  a  suffused  golden  glow,  partly  due  to  the  action  of  time 
on  the  colors,  which  enhances  the  high  charm  of  this  eloquent  fabric. 


TWO  FLEMISH  HA  UTE-LI88E  TAPESTEIES 

VERDURE 


TWO  FLEfflSH  HAUTE-LISSE  TAPESTRIES 


VERDURE 

Height,  11  feet,  2  inches;  lengths,  10  feet,  10  inches  and  10  feet,  7  inches. 

These  tapestries  were  woven  about  the  middle  of  the  seventeenth  century  by 
Gerard  van  den  Stricken,  among  whose  other  works  were  the  series,  "Mark 
Antony  and  Cleopatra,"  now  in  the  MetropoHtan  Museum  of  Art.  A  series 
of  verdure  tapestries  of  similar  period  to  these  and  exhibiting  general  simi- 
larity in  color,  composition,  and  weaving,  all  of  them  landscape  subjects,  are 
in  the  royal  palace  at  Stockholm.  In  that  series  the  borders  are  identical  with 
the  borders  of  those  under  consideration,  except  that  in  the  top  border  are 
woven  the  royal  arms  of  Sweden. 

At  either  side,  in  these  tapestries,  rises  an  ornate  architectural  column, 
heavily  carved,  surmounted  by  an  elaborately  carved  capital,  the  columns 
supporting  a  lintel  from  which  depends,  near  the  centre,  a  carved  shield-panel 
bearing  a  coat  of  arms,  under  a  French  coronet,  with  the  motto:  "Potius  mori 
quam  feodari."  Large  trees,  their  trunks  running  near  to  the  columns,  frame 
the  landscape  compositions.  In  one,  in  the  left  foreground  at  the  foot  of  some 
trees,  at  the  edge  of  a  lake,  a  man  walks  with  some  dogs  in  leash,  a  horn  slung 
under  his  arm,  and  carrying  a  halberd  over  his  shoulder.  Beyond  the  lake  rise 
the  wooded  slopes  of  a  hilly  country.  The  other  tapestry  also  represents  a 
wooded  landscape,  softened  by  a  body  of  water,  with  two  figures,  —  an  old 
man  about  whose  shoulders  a  younger  one  has  thrown  an  arm,  —  walking 
beneath  the  trees.  The  colors  employed  are  green,  pale  yellow,  pale  blue,  deep 
blue,  a  creamy  white,  gray,  brownish-orange,  and  black.  The  tapestries 
evidently  were  woven  for  a  powerful  French  noble,  or  princely  ruler,  as  the 
arms  and  coronet  indicate,  with  their  motto  which  may  be  translated,  "Better 
to  die  than  be  subject,"  or  "Death  rather  than  feudal  service." 


I 

I 


FLEMISH  TAPESTRY 

FLORA  AND  HER  MAIDS 


FLEMISH  TAPESTRY 


FLORA  AND  HER  MAIDS 

Height,  11  feet,  4  inches;  length,  16  feet. 

Woven  in  Flanders  near  the  close  of  the  seventeenth  century,  this  haute-lisse 
tapestry  reveals  the  influences  of  French  art  upon  the  weavers,  who,  once 
called  to  France  to  aid  in  the  development  of  the  Gobelins  works,  had  been 
impelled  by  dissensions  there  to  return  to  their  own  land.  Flora  is  pictured 
as  a  stately  lady  of  the  period,  with  beautiful  features,  well-poised  head,  and 
lovely  arms  and  hands,  seated  gracefully  at  a  fountain  in  a  dell,  leaning  with 
her  left  elbow  resting  negligently  on  its  rim,  the  left  hand  supporting  her  robe 
at  her  breast.  Her  head  is  turned  three  quarters  to  her  right,  where  she  looks 
brightly  and  intently,  almost  as  with  anticipation,  as  toward  some  one  in  the 
distance.  She  appears  in  no  way  perturbed  by  the  cry  of  one  of  her  beautiful 
maidens  in  that  direction,  who  has  been  stung  in  the  heel  by  a  serpent  whose 
fangs  are  still  fastened  in  her  bare  heel.  The  maiden  looks  in  frightened 
anguish  toward  a  gentle,  effeminate  figure,  crowned  with  leaves,  leaning 
against  the  other  side  of  the  tree,  who  has  been  taken  to  be  Zephyrus,  and 
who  certainly,  gazing  in  the  direction  of  the  goddess,  looks  "mild  as  when 
Zephyrus  on  Flora  breathes,"  as  Milton  had  it.  At  the  extreme  left  another 
maid  of  buxom  beauty,  back  of  the  injured  one,  seems  not  at  all  disturbed  by 
the  accident  to  her  companion,  though  she,  too,  has  let  her  blossoms  fall.  She 
rests  her  left  hand  on  a  rock,  while  with  the  other  she  is  drawing  up  the  skirts 
of  her  short-sleeved,  brownish-orange  robe,  to  give  freedom  of  movement  to 
her  graceful  limbs  as  she  steps  daintily  forward. 

The  figures  are  in  the  shelter  of  trees.  The  field  of  yellowish-green  hue 
beyond  them  shows  spots  turned  golden  in  the  sunshine  and  leads  to  chateaux 
among  the  hills,  back  of  which  are  distant  mountains.  The  border  displays  a 
gorgeous  riot  of  flowers  and  fruits  and  here  and  there  a  bright-plumaged  bird. 


FLEMISH  TAPESTRY 

FOUR  KNIGHTS  FIGHTING 


FLEMISH  TAPESTRY 


FOUR  KNIGHTS  FIGHTING 

Height,  W  feet,  1  inch;  length,  lifeet,  10  incites. 

Woven  during  the  first  quarter  of  the  eighteenth  century,  in  Flanders,  as  a 
commercial  fabric,  this  tapestry  discloses  clearly  the  decline  in  the  art  of 
tapestry-weaving,  and  has  therefore  an  interest  of  its  own  for  the  collector  or 
student  of  tapestries.  It  is  pleasing  in  its  color-tone,  its  "  quality  "  as  a  painter 
sees  it  in  such  a  fabric.  The  four  knights,  afoot  and  mounted,  their  horses  and 
arms,  as  well  as  the  landscape,  are  done  in  blues,  flesh  tones,  yellows,  browns, 
reds  and  greens,  which  blend  finely  in  the  mass  now.  There  is  interesting 
variation  in  the  leaf  drawing  on  the  two  sides  of  the  landscape  composition. 

It  was  in  the  eighteenth  century  that  the  industry  which  had  been  the 
means  of  bringing  much  glory  and  distinction  to  Brussels  suffered  extinction 
there,  the  last  tapissiers,  in  the  specific  use  of  the  term,  the  van  der  Borghts, 
after  a  struggle  against  adverse  fortune  closing  their  workshop  finally  in  1794. 


MAEBLE  FOUNTAIN  GROUP 


MARBLE  FOUNTAIN  GROUP 


This  is  the  embodiment  of  a  sculptor's  flight  of  fancy  which  he  was  a  year  in 
working  out  in  the  solid  block  of  marble  from  which  the  entire  group  is  carved. 
The  conception  is  of  the  spirit  of  music  and  song  personified  in  a  young  girl  of 
lithe  and  buoyant  figure,  —  the  soul  of  melody  expressed  in  joyous  freedom, 
and  in  its  idealization  released  from  conventional  trammels  that  would 
restrict  the  individual  or  render  the  instrument  mute. 

The  maiden,  her  lips  parted  in  song,  is  seated  on  a  rock  shrine,  holding  a 
stringed  instrument  of  the  mandolin  order  on  which  her  fingers  lightly  rest,  and 
looking  into  distant  space  as  at  kindred  spirits  in  the  air.  Her  vision  is  in  the 
direction  of  the  spectator,  toward  whom  head  and  bust  are  turned,  but  she 
is  seated  sidewise  on  the  rock,  supported  or  steadied  by  her  left  foot  while  the 
right  is  carelessly  flung  back,  falling  over  the  rock's  rounded  side.  Neck  and 
arms  bare,  a  single  clinging  garment  falls  in  graceful  folds  about  torso  and 
limbs,  the  extremities  innocent  of  shoe  or  sandal.  Her  hair  is  garlanded.  At 
her  feet  nude  children  —  amorini  of  a  larger  growth  —  are  tumbling  in 
joyful  play.  One  who  is  climbing  up  the  shrine  turns  to  laugh  at  another  who  is 
rolling  backward  into  the  water  of  the  fountain.  Below  the  singer's  dangling 
right  foot  a  smaller  child  of  cherubic  aspect  crouches  among  marble  lily  pads 
holding  out  a  bud,  while  more  of  the  blossoms  are  strung  about  its  head  and 
fall  over  its  shoulder.  Behind  the  sprightly  songstress,  whose  upper  figure  is 
in  the  round,  —  her  head  forming  the  apex  of  the  group,  her  back  expres- 
sively modelled,  —  two  more  of  the  amorini  play.  One  of  feminine  contour 
who  is  plentifully  begarlanded  proffers  a  lily  to  the  playmate  who  is  holding 
her  up.  The  whole  is  in  pure  white  Carrara  marble. 

From  the  heavy  stone  ring  bounding  the  circular  basin  of  the  fountain  eight 
carved  stone  lion  heads  spout  water  upon  the  central  marble  group. 


THE  CABINET 


THE  CABINET 


1.  S:^iALL  Blue  and  White  Plate. 

Hard  paste  of  thin  texture.  Decoration  of  "Long  Elizas"  and  willow  tree; 
border  of  floral  sprays  in  two  shades  of  bleu-de-Nankin.  Character  mark 
of  Ch'eng-hua  (1465-1487),  but  made  at  a  later  date. 

Diameter,  6  inches. 

Collection  of  Deming  Jarves,  1909. 

2.  Small  Blue  and  White  Plate. 

Hard  paste  of  the  K'ang-hsi  period  (1662-1722).  Sacred  lotus  amid  leafy 
scrolls  penciled  in  brilliant  underglaze  blue. 

Diameter,  6  inches. 

Collection  of  Deming  Jarves,  1909. 

3.  Blue  and  White  Plate. 

Hard  paste  of  the  Ch'ien-lung  period  (1736-1795).  Decoration  of  floral 
panels  and  diaper  patterns  in  brilliant  blue. 

Diameter,  8J/^  inches. 

Collection  of  Deming  Jarves,  1909. 

4.  Old  Canton  Plate. 

Landscape,  river  and  mountain  scenery,  and  a  diaper  border  in  fine  cobalt- 
blue. 

Diameter,  8  inches. 

Collection  of  Deming  Jarves,  1909. 

5.  Old  Canton  Plate. 

Thin  white  hard  paste.  Plum  in  blossom,  bamboo  and  border  of  peony 
sprays  painted  in  brilliant  blue  under  the  glaze. 

Diameter,  9  inches. 

Collection  of  Deming  Jarves,  1909. 


6.  Blue  and  White  Deep  Plate. 

Thill  white  hard  paste  of  the  K'ang-hsi  period  (1662-1722).  Panel  deco- 
ration of  "Long  Ehzas"  and  palm  trees  painted  under  the  glaze  in  brilliant 
cobalt-blue. 

Diameter,  9  inches. 

Collection  of  Deming  Jarves,  1909. 

7.  Blue  and  White  Plate. 

Thin  white  hard  paste.  Medallion  decoration  of  hunting  scene,  and  border 
of  lotus  scrolls,  painted  under  the  glaze  in  brilliant  blue.  Six  character 
mark  of  Ch'eng-hua.  (Repaired.) 

Diameter,  7  inches. 

Collection  of  Deming  Jarves,  1909. 

8.  Unique  Blue  and  White  Plate. 

Dutch  East  India  Company  style.  Decoration  of  coat-of-arms,  and  bold 
floral  and  leafy  scrolls  of  European  design,  painted  in  bleu-de-Nankin. 
Has  teakwood  stand. 

Diameter,  9  inches. 

Collection  of  Deming  Jarves,  1909. 

9.  Blue  and  White  Cup  and  Saucer. 

White  hard  paste  of  almost  eggshell  thinness.  Decoration  of  birds  and 
flowering  plants  in  brilliant  cobalt-blue  penciled  under  the  glaze. 

Collection  of  Deming  Jarves,  1909. 

10.  Small  Blue  and  White  Cup  and  Saucer, 

Lotus-shaped.  Hard  paste  of  the  Ch'ien-lung  period  (1736-1795).  Deco- 
ration of  floral  sprays  in  underglaze  blue  of  fine  quality. 

Collection  of  Deming  Jarves,  1909. 

11.  Small  Blue  and  White  Cup  and  Saucer. 

Thin  hard  paste  of  the  Ch'ien-lung  period  (1736-1795).  Decoration  of 
crayfish,  carp  and  crab  impressed  in  the  paste  and  decorated  in  under- 
glaze blue. 

Collection  of  Deming  Jarves,  1909. 


1 


12.  Pair  Tall  Blue  and  White  Cups  and  Saucers. 

Cups  with  handles  and  covers.  White  hard  paste  of  the  K'ang-hsi  period 
(1662-1722).  Opaque  blue  glaze,  with  flowers  and  leafy  scrolls  in  white 
reserve. 

Collection  of  Deming  Jarves,  1909. 

13.  Blue  and  White  Teapot. 

Cylindrical  shaped  with  top  handle.  Ch'ien-lung  porcelain  of  the  soft- 
paste  type.  Decoration  of  tree  peonies,  rocks  and  insects  in  brilliant 
mazarine-blue.  Has  teakwood  stand. 

Collection  of  Deming  Jarves,  1909. 

14.  Pair  Blue  and  White  Wine-Ewers. 

Hard  paste  of  the  K'ang-hsi  period  (1662-1722).  The  decoration,  in  brilliant 
underglaze  blue,  consists  of  various  objects  of  art  and  symbols  known  as  the 
"  Hundred  Antiques  "  and  the  Eight  Precious  Things.  (Repaired.)  Have 
teakwood  stands. 

Collection  of  Deming  Jarves,  1909. 

15.  Blue  and  White  Wine-Pot. 

On  four  tall,  slender  feet.  Hard  paste  of  the  Ch'ien-lung  period  (1736- 
1795).  Decoration  of  lotus  scrolls  and  the  eight  Buddhistic  emblems  of 
happy  augury,  painted  in  brilliant  cobalt-blue. 

Height,  7  inches. 

Collection  of  Baron  Speck  von  Sternburg,  1909. 

16.  Blue  and  White  Hawthorn  Beaker. 

Clear  white  hard  paste  of  the  K'ang-hsi  period  (1662-1772).  Branches 
of  prunus  blossom,in  white  reserve,  upon  a  mottled  background  of  opaque 
blue,  which  is  covered  with  a  reticulation  of  a  darker  blue  line,  to  represent 
cracking  ice.  Has  carved  teakwood  stand. 

Height,  18J^  inches. 

Collection  of  Yamanaka  &  Company,  1908. 


17.  Pair  Beautiful  Ginger  Jars. 

With  original  dome-shaped  covers.  Soft  paste  of  exceedingly  fine  quality 
of  the  Ch'ien-lung  period  (1736-1795).  Beautifully  painted  decoration 
in  brilliant  blue  under  the  glaze  of  conventionalized  passion  flowers  and 
profuse  foliations  and  bands  of  sceptre  heads  and  gadroons. 

Height,  7j/^  inches. 

Collection  of  Babon  Speck  von  Sternburg,  1909. 

18.  Beautiful  Soft-Paste  Ginger  Jar. 

Of  almost  eggshell  thinness.  Globular-shaped.  Ch'ien-lung  period  (1736- 
1795).  Invested  with  an  ivory-white  glaze  of  fine  even  quality,  and 
decorated  with  chrysanthemums  and  profuse  foliation  finely  painted  in 
brilliant  underglaze  blue.  Round  the  shoulder  a  band  of  sceptre-head 
scrolls,  and  encircling  the  foot  a  border  of  gadroons. 

Height,  8}/2  inches. 

Collection  of  Baron  Speck  von  Sternburg,  1909. 

19.  Blue  and  White  Hawthorn  Temple  Jar. 

With  cover.  K'ang-hsi  period  (1662-1 722).  Branches  of  prunus  blossoms 
in  white  reserve  on  a  ground  of  opaque  blue,  broken  up  into  an  arbitrary 
pattern  known  as  "cracked  ice."  Has  carved  wood  stand  and  hat-shaped 
cover. 

Height,  17  inches. 

Collection  of  Yamanaka  &  Company,  1908. 

20.  Blue  and  White  Hawthorn  Temple  Jar. 

With  original  hat-shaped  cover.  Hard  paste  of  the  K'ang-hsi  period 
(1662-1722).  Brilliant  opaque  blue  ground  in  imitation  of  cracking  ice 
and  branches  of  the  prunus  blossom,  which  extend  upward  and  downward 
in  white  reserve  outlined  in  blue.  (Rims  of  jar  and  cover  show  restora- 
tion.) Has  carved  wood  stand. 

Height  18  inches;  diameter,  9  inches. 

Collection  of  Yamanaka  &  Company,  1908. 


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21.  Large  Blue  and  White  Jar. 

Hard  paste  of  the  K'ang-hsi  period  (1662-1722).  The  decoration,  which 
is  painted  in  eight  upright  panels  in  underglaze  blue  of  brilliant  quality, 
consists  of  tree  peonies,  chrysanthemums  and  the  blossoming  prunus; 
round  the  neck  is  a  band  of  lotus  and  foliated  scrolls.  Has  carved  teak- 
wood  stand  and  openwork  cover  with  jade  ornament. 

Height,  19  inches. 

Collection  of  Deming  Jarves,  1909. 

22.  Pair  Large  Jars  with  Hat-shaped  Covers. 

Hard  paste  of  the  K'ang-hsi  period  (1662-1722).  Within  four  upright 
panels  are  garden  and  river  views  and  the  prunus  in  blossom,  painted 
under  the  glaze  in  two  shades  of  bleu-de-Nankin;  the  shoulder  is  encircled 
with  a  band  of  sceptre-head  scrolls,  birds  and  detached  blossoms  in 
reserve  on  an  opaque  blue  ground. 

Height,  22  inches. 

Collection  of  Deming  Jarves,  1909. 

23.  Large  Pilgrim  Bottle  Vase. 

Literally  "Full-moon  Vase,"  with  bulging  centre  panels.  Pure  white 
porcelain  of  the  Ch'ien-lung  period  (1736-1795).  Decorated  under  the 
glaze  in  brilliant  blue;  the  embellishment  on  obverse  and  reverse  consists 
of  circles  of  bold  sceptre  heads,  within  which  are  the  eight  Buddhistic 
emblems  of  happy  augury,  and  on  the  sides  lotus  flowers  and  leafy  scrolls. 
Underneath  the  foot  seal  mark  penciled  in  blue. 

Height,  20  inches. 

Collection  of  Baron  Speck  von  Sternburg,  1909. 

24.  Noble  Blue  and  White  Vase. 

Tall  oviform,  with  tubular  neck,  wide  mouth  and  two  dragon  design 
handles.  Dense  porcelain  of  the  Ch'ien-lung  period  (1736-1795).  Deco- 
rated in  two  shades  of  cobalt-blue  under  the  glaze,  with  an  elaborate 
design  representing  landscapes,  mountain  scenery  and  water  views. 


Round  the  lip  is  a  band  of  fret,  sceptre  heads,  lotus  flowers  and  diaper 
patterns,  and  encircling  the  foot  are  rolling  waves. 

Height,  53  inches. 

This  vase  is  an  historical  piece,  having  been  dedicated  by  Emperor  Ch'ien-lung  after  his  victorious 

campaign  in  Thibet  to  the  Temple  of  the  God  of  War  (Kuan-Ti),  at  the  Chin  Men  Gate  in  Pekin. 
Collection  of  Babon  Speck  von  Sternburg,  1909. 

25.  Pair  Noble  Blue  and  White  Jars. 

Tall,  graceful,  oviform,  with  wide  mouths.  They  are  of  clear  white  hard 
paste  of  the  K'ang-hsi  period  (1662-1722)  and  are  beautifully  decorated 
in  underglaze  blue  of  brilliant  quality.  In  four  circular  panels  are  Chinese 
domestic  and  garden  scenes  which  are  surrounded  with  conventional 
floral  designs  and  profuse  leafy  scrolls;  around  the  shoulders  are  bands  of 
sceptre-head  scrolls,  and  encircling  the  foot  of  each  vase  is  a  similar 
ornamentation.  The  necks  are  embellished  to  correspond,  and  rimming 
the  mouths  is  a  band  of  fret  patterns. 

Height,  38  inches. 

26.  Grand  Oviform  Jar. 

With  hat-shaped  cover.  Clear  white  hard  paste  of  the  Yung-cheng  period 
(1723-1735).  Richly  decorated  with  the  phoenix,  the  Empress's  emblem, 
tree  peonies  and  magnolia  in  bloom,  and  various  border  designs  beauti- 
fully painted  in  brilliant  enamel  colors  of  famille  rose.  Mounted  on  a 
carved  wood  and  gilt  pedestal  of  Louis  Seize  design. 

Jar:  height,  ifeet,  6  inches;  diameter,  21  inches. 

Pedestal:  height,  20  inches. 

Collection  of  Duveen  Brothers,  1909. 

27.  Grand  Bottle-shaped  Vase. 

With  two  tubular  handles  on  neck,  dense  porcelain  of  the  Ch'ien-lung 
period  (1736-1795).  It  is  invested  with  a  monochrome  glaze  of  clair  de 
lune  of  beautiful  even  quality.  Underneath  the  foot  penciled  in  cobalt- 
blue  is  a  seal  mark  of  the  period. 

Height,  20  inches. 


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28.  Large  Sang-de-Bceuf  Vase. 

Thick-set  bottle,  with  tall  tubular  neck.  It  is  of  Lang  Yao  porcelain  of 
K'ang-hsi  date  (1662-1722),  and  is  invested  with  a  mottled  glaze  of  typi- 
cal ox-blood  color.  The  lip  is  defined  by  a  prominent  line  of  white,  and 
the  foot  by  a  biscuit  edge  which  encircles  a  base  invested  with  a  rice- 
color  crackled  glaze.  Carved  teakwood  stand. 

Height,  16  inches. 

Collection  of  Henry  Graves,  1909. 

29.  Superb  Powder-blue  Vase. 

Club-shaped.  Enameled  with  a  mottled  cobalt-blue  glaze  of  brilliant 
texture,  known  as  "powder-blue."  Two  rims  of  the  lip  are  of  white,  and 
left  free  of  the  glaze.  Underneath  the  foot  is  an  inscription  etched  in  the 
paste  which  reads,  "This  was  the  property  of  our  ancestor,  Johi-Ko, 
who  lived  during  the  reign  of  K'ang-hsi."  K'ang-hsi  period  (1662-1722). 

Height,  17^  inches. 

Collection  of  Henry  Graves,  1909. 

30.  Brilliant  Mirror-black  Club-shaped  Vase. 

Of  thin  texture.  Enameled  with  a  monochrome  glaze  of  mirror-black 
of  dense  and  brilliant  quality.  Two  rims  of  the  lip  are  of  white,  and  left 
free  of  the  glaze.  K'ang-hsi  period  (1662-1722).  Has  carved  teakwood 
stand. 

Height,  18  inches. 

Collection  of  Henry  Graves,  1909. 

31.  Lang-Yao  Vase. 

Tall  oviform.  Coated  with  a  thick  running  glaze  of  peach-bloom  tint, 
over  a  celadon  crackle  surface,  and  thickening  at  the  foot.  Underneath 
the  foot  is  invested  with  a  rice-color  glaze.  Has  silver  collar  and  carved 
teakwood  stand. 

Height,  14j^  inches. 

Collection  of  Yamanaka  &  Company,  1908. 


32.  Club-shaped  Vase. 

Clear  white  hard  paste  of  the  K'ang-hsi  period  (1662-1722).  Invested 
with  a  powder-blue  glaze  of  deep  mazarine  tone,  of  fine  quality. 

Height,  18  inches. 

Cotledion  of  Duveen  Brothers,  1909. 

33.  Celadon  Gallipot. 

Thick  porcelain  of  the  K'ang-hsi  period  (1662-1722).  Enameled  with  a 
pellucid  monochrome  glaze  of  pale  sea-green  tint,  which  is  marked  with 
bold  brown  crackle  and  extends  over  the  rim  inside  the  mouth  and  invests 
the  base  of  the  foot.  Has  teakwood  stand- 

Height,  5}/^  inches. 

Collection  of  Cyrus  J.  Lawrence,  1910. 

34.  Brilliant  Camellia-leaf  Green  Vase. 

Graceful  bottle-shaped.  The  surface  is  entirely  covered  with  a  network 
of  minute  crackle,  over  which  is  a  monochrome  glaze  of  camellia-leaf 
green  of  brilliant  quality.  Ch'ien-lung  period  (1736-1795).  Has  carved 
teakwood  stand. 

Height,  7^  inches. 

Collection  of  Cyrus  J.  Lawrence,  1910. 

35.  Superb  Pure  White  Beaker. 

Thin  porcelain  of  the  Yung-cheng  period  (1723-1735).  Invested  with  an 
ivory-white  glaze  of  soft  and  brilliant  quality,  and  decorated  with  bands  of 
palmettes  carved  in  relief  in  the  paste.  Has  teakwood  stand. 

Height,  8%  inches. 

Collection  of  J.  B.  Ladd,  1910. 

36.  Sang-de-Bceuf  Bottle-shaped  Vase. 

Clear  white  porcelain  of  the  Ch'ien-lung"  period  (1736-1795).  Enameled 
with  a  monochrome  glaze  of  sang-de-boeuf  type,  which  displays  a  beauti- 
ful variation  of  color.  Has  finely  carved  teakwood  stand. 

Height,  9  inches. 

Collection  of  J.  B.  Ladd,  1910. 


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37.  Small  Turquoise-blue  Oviform  Vase. 

Thin  porcelain  of  the  Yung-cheng  period  (1723-1735).  Coated  with  a 
mottled-blue  glaze  of  turquoise-blue,  underneath  which  is  a  minutely 
crackled  surface.  Has  teakwood  stand. 

Height,  43^  inches. 

Collection  of  Cyrus  J.  Lawrence,  1910. 


38.  Celadon  Bottle-shaped  Vase. 

Thick  porcelain  of  the  K'ang-hsi  period  (1662-1722).  Enameled  with  a 
monochrome  glaze  of  sea-green  tint,  which  is  marked  with  a  bold  brown 
crackle  that  extends  over  the  rim,  inside  the  mouth,  and  invests  the 
base  of  the  foot.  Has  carved  teakwood  stand. 

Height,  5  inches. 

Collection  of  Cyrus  J.  Lawrence,  1910. 


39.  Peacock-blue  Gallipot. 

Of  the  Ch'ien-lung  period  (1736-1795).  Enameled  with  a  monochrome 
glaze  of  fine  peacock  blue,  which  is  applied  over  a  network  of  minute 
crackle.  Has  carved  teakwood  stand. 

Height,  5  inches. 

Collection  of  Cyrus  J.  Lawrence,  1910. 


40.  Imperial-yellow  Bowl. 

Pure  white  porcelain  of  the  Tao-Kuang  period  (1821-1851).  Invested 
with  imperial-yellow  glaze  of  brilliant  quality,  and  decorated  with  two 
five-clawed  dragons  amid  cloud-forms  and  fire  emblems,  pursuing  the 
sacred  pearl,  etched  in  the  paste.  Seal  mark  underneath  the  foot  in 
cobalt-blue. 

Height,  5  inches. 

Collection  of  Cyrus  J.  Lawrence,  1910. 


41.  Grand  Sang-de-Bceuf  Vase. 

Tall  oviform,  with  tubular  neck,  and  gracefully  spreading  at  the  base. 
The  porcelain,  which  is  of  dense  texture,  is  coated  with  a  monochrome 
glaze  of  brilliant  sang-de-bceuf  color  of  the  celebrated  Lang-yao  type.  As- 
cribed to  the  Ch'ien-lung  period,  but  more  probably  of  Tao-Kuang 
workmanship  (1821-1851).   Has  carved  wood  stand. 

Height,  36  inches. 

Collection  of  Yamanaka  &  Company,  1908. 


42.  Large  Bottle-Shape  Chinese  Cloisonne  Vase. 

With  lotus-pod  handle  on  neck.  Body  shaped  as  a  lotus  calyx,  the  bulbous 
neck  terminating  in  the  form  of  a  lotus  bud.  The  decoration  consists  of 
fishes,  seaweed,  Indian  lotus  and  leaf  scrolls  in  enamels  of  various  colors, 
lapis-blue  and  red  predominating,  on  a  turquoise-blue  ground.  Around 
the  shoulder  are  six  gilt  panels  in  the  design  of  lotus  pods.  Carved  stand. 
Chia  Ching  period  (1522-1566). 

Height,  19}^  inches. 

From  the  Robert  Hoe  Collection,  1911. 


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 j 


FAMOUS  HORSES 

OWNED  BY 
ME.  C.  K.  G.  BILLINGS 


PRINCESS 


I 


"PRINCESS" 

A  FAMOUS  OLD-TIME  TROTTING  CHAMPION 

Her  speed  was  developed  by  Albert  M.  Billings,  who  used  her  as  a  roadster 
down  in  Vermont  in  the  early  fifties.  Princess  was  not  only  one  of  the  fast- 
est trotters  of  her  time,  but  her  name  now  figures  in  the  pedigrees  of  several 
late  day  champions,  including  the  queen  of  trotters,  Lou  Dillon. 

Mr.  Billings  traded  another  horse  and  gave  $125  to  boot  for  Princess  when 
she  was  four  years  old  in  1851.  At  that  time  she  was  a  pacer  and  was  called 
Topsy.  Mr.  Billings  raised  one  colt  from  her  and  developed  her  speed  by  let- 
ting her  trot  from  the  village  to  the  farm.  Being  anxious  to  get  back  to  her 
colt,  she  would  go  towards  home  very  fast.  If  she  tried  to  pace  or  run,  Mr. 
Billings  would  take  her  back  to  the  village  and  start  over,  so  she  gradually 
learned  to  cover  the  distance  on  a  square  trot. 

Her  wonderful  speed  finally  attracted  the  attention  of  Mr.  D.  A.  Gage  of 
Chicago,  who  was  visiting  in  those  parts,  and  he  purchased  her  of  Mr.  Billings 
for  $600,  a  large  price  for  a  road  horse  at  that  time.  She  defeated  every  horse 
in  and  about  Chicago  and  won  a  number  of  match  races.  During  her  career 
as  race  mare  she  changed  hands  many  times  and  was  shipped  and  roaded 
thousands  of  miles,  making  two  trips  to  California  by  boat  via  the  Isthmus 
of  Panama. 

Probably  her  greatest  performances  were  her  two  races  against  Glenco 
Chief  in  California  in  1859.  They  were  both  ten  mile  races,  one  one  day  and 
the  other  the  next  —  Princess  going  to  wagon  and  Glenco  Chief  to  sulky.  The 
mare  won  both  races;  the  first  in  29-1 0^^  and  the  second  in  29-16/^.  The 
amount  of  money  staked  on  the  first  race  was  twenty-five  thousand  dollars, 
on  the  second  ten  thousand  dollars,  more  money  than  two  horses  ever  trotted 
for  before  or  since. 

When  Princess  met  Flora  Temple  in  a  series  of  three  races  in  1859,  the  latter 
was  right  in  her  prime  while  Princess  was  practically  worn  out,  which  accounts 
for  the  fact  that  she  only  won  one  of  the  three  races.  Although  Flora  Temple 
held  the  world's  record  (2:193^)  there  is  no  question  but  that  Princess  was 


Il 


I 


the  faster,  as  she  trotted  an  authentic  trial  to  wagon  in  2:17  over  the  New 
Orleans  racecourse. 

All  that  is  known  of  the  breeding  of  Princess  is  that  she  was  sired  by  Andrus 
Hambletonion,  a  son  of  Bishops  Hambletonion. 

As  a  brood  mare  late  in  life  she  foaled  three  colts,  two  dying  young,  the 
third  being  Happy  Medium,  one  of  the  greatest  sires  of  all  time.  All  told, 
Happy  Medium  sired  hundreds  of  famous  trotters,  including  the  ex-queen  of 
the  turf,  Nancy  Hanks,  2:04.  Happy  Medium  also  sired  Milton  Medium,  sire 
of  the  dam  of  Lou  Dillon,  l:58i/^,  which  brings  Princess  into  the  latter's 
pedigree. 

Considering  her  wonderful  quality  and  the  prepotency  of  her  blood,  it  is  not 
at  all  strange  that  the  picture  by  Scott  shows  a  striking  resemblance  between 
her  and  her  great  great  granddaughter  "Queen  Lou." 


•I 


1 


LOU  DILLON 


LOU  DILLON 


THE  REIGNING  QUEEN  OF  THE  TROTTING  TURF  SINCE  1903 

Lou  Dillon  is  probably  the  most  famous  record  breaker  of  history,  as  she 
was  the  first  trotter  to  cover  a  mile  in  two  minutes.  This  she  did  at  Boston, 
August  24,  1903.  She  had  previously,  the  same  year,  reduced  the  world's 
trotting  record  for  mares  of  2:03^,  held  by  Alix,  on  two  different  occasions. 

During  the  fall  of  that  year  she  made  several  other  successful  assaults  on 
different  records.  Driven  by  her  owner,  she  reduced  the  world's  wagon 
record  to  2:01^  at  Lexington,  Kentucky,  on  October  20,  and  a  week  later 
cut  the  same  record  to  two  minutes  flat,  at  Memphis,  Tennessee. 

In  the  great  gentlemen's  wagon  race  for  the  Memphis  gold  cup  at  the  same 
meeting,  she  was  driven  to  victory  by  her  owner  in  2:04^  and  2: 04^,  —  the 
fastest  two-heat  race  ever  trotted  at  that  date. 

As  a  fitting  climax  to  her  brilliant  season  she  was  driven  a  mile  against 
time,  to  sulky,  at  the  wonderful  time  of  1 :583/^.  This  is  her  present  record  and 
has  been  approached  by  but  one  other  trotter  —  Uhlan,  1 : 58^. 

The  following  year,  1904,  she  was  again  driven  many  sensational  miles. 
Then  after  several  years  in  retirement,  she  was  taken  to  Europe  in  1909,  and 
in  a  series  of  exhibitions  at  different  distances,  before  large  audiences  at 
Moscow,  Berlin,  and  Vienna,  she  showed  more  speed  than  she  had  ever 
shown  at  home. 

Lou  Dillon  w^as  bred  in  California  and  was  unknown  to  the  public  when  Mr. 
Billings  purchased  her  at  auction  as  a  five-year-old,  in  the  spring  of  1903.  Her 
sire,  Sidney  Dillon,  is  also  the  sire  of  many  other  great  horses.  Her  dam, 
Lou  Milton,  was  a  daughter  of  Milton  Medium,  son  of  Happy  Medium,  sire 
of  the  ex-queen  of  the  turf,  Nancy  Hanks,  2:04.  Lou  Dillon  is  now  a  brood 
mare  and  has  several  foals  that  promise  to  be  a  credit  to  her. 


f 


A  SOUVENIH  OF  RUSSIAN  SPORTSMEN 

MOSCOW  CUP  OF  RUSSIAN  ENAMEL 


A  SOUVENIR  OF  RUSSIAN  SPORTSMEN 


MOSCOW  CUP  OF  RUSSIAN  ENAMEL 

Height,  13%  inches;  diameter,  lOj^  inches. 

IVIassive  Russian  enamel  cup  in  the  form  of  a  duck  rather  freely  modified, 
shaped,  moulded,  and  lined  with  gold.  The  enamel  is  applied  in  a  multiplicity 
of  hues,  among  them  slate,  blue,  green,  red,  purple,  lavender,  brown,  gray, 
white,  and  yellow,  much  of  it  in  repousse  medallions,  circular,  shield  and  fan- 
shaped  and  in  other  designs,  treated  as  conventionalized  feathers.  The  cup 
rests  on  a  circular,  socket  foot.  It  was  a  gift,  "From  the  Imperial  Moscow 
Trotting  Association  to  Mr.  C.  K.  G.  Billings,  as  a  remembrance  of  his  visit  to 
the  Moscow  Trotting  Track,  and  of  the  appearance  of  his  mare,  the  Trotting 
Queen  Lou  Dillon,  at  Moscow,  June  26,  1909." 

A  little  later  that  season,  while  in  Berlin,  Mr.  Billings  received  another 
remembrance  from  the  Russian  city.  It  came  in  the  guise  of  a  telegraphic 
greeting,  on  July  16, 1909,  reading:  "The  trotting  drivers  of  Moscow,  rejoicing 
at  splendid  dinner  kindly  offered  by  you,  drink  the  health  of  the  world's 
greatest  sportsman  and  wish  to  see  him  again  amongst  them  for  many,  many 
years." 


UHLAN 


UHLAN 


Uhlan,  the  new  King  of  Trotters  is  a  New  England  product,  having  been  foaled 
the  Spring  of  1904  in  Massachusetts,  the  property  of  Mr.  Arthur  H.  Parker. 
The  same  spring  Mr.  Parker  paid  $32,000  for  Uhlan's  sire  Bingen.  From  his 
first  appearance  on  the  turf  as  a  four-year-old  Uhlan  showed  championship 
class.  That  year  he  won  his  four  starts  in  the  grand  circuit  with  ease,  taking  a 
record  of  2:07M-  The  year  following,  1909,  he  won  three  of  his  four  starts,  los- 
ing one  to  Hamburg  Belle,  the  heats  being  trotted  in  2:0l34  and  2:01^,  the 
fastest  race  on  record. 

In  a  subsequent  meeting  Uhlan  turned  the  tables  on  the  mare,  defeating  her 
decisively,  which  resulted  in  his  sale  to  his  present  owner  for  $35,000.  Under 
Mr.  Billings'  colors,  in  1910,  he  proved  himself  the  equal,  if  not  the  superior  of 
his  stable  mate,  the  trotting  queen,  Lou  Dillon.  Driven  by  Mr.  Billings  he 
first  lowered  the  unpaced,  wagon  record  of  2:01  and  the  same  week,  driven  by 
his  trainer,  Charles  Tanner,  he  dropped  the  world's  unpaced  record  to  Sulky 
to  1 :58^.  Still  later  he  lowered  the  w^orld's  half  mile  track  trotting  record  to 
2:05}4  at  Allentown,  Pa. 

Uhlan  is  black  in  color  and,  as  his  picture  shows,  he  is  quite  the  champion 
in  looks  that  he  is  in  speed,  gait  and  deportment. 


I 


i 


MEMENTO  OF  "UHLAN" 

A  GOLDEN  TROPHY  OF  1910 


IVIEMENTO  OF  "UHLAN 


A  GOLDEN  TROPHY  OF  1910 

Height,  173^  inches;  diameter,  14j^  inches. 

This  gold  cup,  of  exquisite  beauty,  came  to  Mr.  Billings  as  a  gift  in  recognition 
of  a  feat  of  Uhlan's  on  a  half-mile  trotting  track.  It  is  of  peculiarly  graceful 
shape  and  proportions,  the  arises  sweeping  upward  in  lines  as  gratif  j^ing  to  the 
eye  as  they  are  convenient  for  handling.  The  tall,  tapering  stem  of  burnished 
yellow  gold  rises  from  a  spreading,  circular  foot,  moulded  at  the  base,  to  a 
knop  or  boss  of  openwork  whose  decorative  motive  is  the  fleur-de-lis  inter- 
mingled with  geometrical  designs,  the  gold  of  the  knop  being  of  Roman  finish. 
Surmounting  this  the  broad,  circular  bowl  of  the  cup  takes  again  the  highly 
polished,  smooth  surface  of  the  stem,  up  to  a  mat  band  just  beneath  the 
moulded  lip,  where  the  inscription  appears  in  raised  block  letters  on  the  dull 
ground.  The  double  handles,  continuous  from  the  knop,  follow  the  curve  of 
the  bowl  but  rise  above  it,  joining  the  body  of  the  bowl  again  at  the  rim  in  a 
downward  curve,  with  spreading  scroll  ornamentation.  The  inscription  around 
the  rim  reads: 

"Presented  to  C.  K.  G.  Billings  by  the  great  Allentown  Fair  in  honor  of  the 
appearance  of  'Uhlan'  and  the  lowering  of  the  world's  half-mile  track  record 
to  2:05M,  September,  1910." 


A  WORLD  PRIZE  OF  DRIVING  DAYS 

THE  CLEVELAND  GOLD  CUP 


A  WORLD  PRIZE  OF  DRIVING  DAYS 


THE  CLEVELAND  GOLD  CUP 

Height,  ll}^  inches;  diameter,  20j^  inches. 

A  LARGE  gold  cup  in  the  shape  of  a  globular  vase,  with  flattened  shoulder,  short 
neck  and  fluted  rim,  a  short  stem  and  broad,  flattened  foot.  The  wide  foot  is 
ornamented  with  laurel  leaves  and  berries  in  an  applique  band  and  finishes 
with  a  scroll  border.  The  receding  shoulder  bears  another  applique  band, 
repeating  in  larger  form  the  laurel  motive  of  the  foot,  and  extending  over  the 
two  heavy,  grip  handles  to  the  moulded  horse  heads  with  which  they  finish, 
the  laurel  encircling  the  animals'  necks.  The  gold  of  the  exterior  is  wholly  of 
the  Roman  finish;  the  interior  of  the  cup  is  done  in  rich  red  burnished  gold. 
The  cup  carries  the  engraved  inscription,  divided  between  obverse  and 
reverse: 

PRESENTED  TO 
C.  K.  G.  BILLINGS 

BY 

THE  gentlemen's  DRIVING  CLUB 

OF 

CLEVELAND  OHIO 
IN  RECOGNITION  OF  HIS  LOYALTY 
AND 

REAL  SPORTSMANSHIP 


"GREAT  GREY  JAMEEL" 


"GREAT  GREY  JAMEEL" 


ly  the  name  of  God.  Gracious  and  Merciful.  From  the  words  of  God  (May  he  be  ex- 
alted). Hear  this.  "  You  shall  fear  the  owner  of  this  breed  of  horses." 

These  are  the  old  horses  known  in  the  races,  mentioned  in  the  noble  texts  and  written 
about  in  authentic  traditions. 

In  clear  instructions  the  care  and  attention  which  should  be  given  this  breed  is  found 
and  out  of  respect  and  honor  to  our  Prophet,  Solomon,  they  should  be  obeyed.  Solomon 
on  passing  a  herd  of  horses  commanded  them  to  come  to  him.  First  to  obey  was  the 
beautiful  horse  Mugnagia  (meaning  of  the  beautiful  neck) ,  whose  neck  he  is  said  to  have 
kissed  and  over  whose  head  and  side  he  passed  his  noble  hand,  commanding  that  great 
care  should  be  taken  of  it  and  all  its  descendants  and  that  it  and  they  should  henceforth 
be  known  as  Al-Kuhyla  Mugnagia.  From  this  species  of  horse  and  connected  with  it 
beyond  any  doubt  whatsoever  is  the  ''Great  Grey  Jameel"  —  the  possessor  of  the  high 
forehead  and  the  beautiful  straight  mane  —  (Kuhailan  Mugnagia  Al-Subaila)  the 
property  originally  of  Sheikh  Ahmed  Mustapha  Effendi  Al-Murtadi. 

Sire.  Great  Mugnagia  owned  by  Mora  Effendi  Al-Hundi. 

Dam.  Great  Mugnagia  Subaila  owned  by  Sheikh  Mustapha  Effendi  Al-Murtadi. 

Sire.  Great  Mugnagia  Subaila  owned  by  Sheikh  Mohammed  Faris  Al-Muzeed,  who 
belongs  to  the  famous  tribe  of  the  Huzsaina  Bedouin. 

Dam.  Fatina,  the  beautiful  Steel  Grey  Kuhaila  Mugnagia,  owned  by  his  Honor  the 
Sheikh  Abdi  Al-Monhim  Effendi  Al-Rijai. 

SiiiE.  Great  Steel  Grey  Mugnagia  owned  by  the  famous  Mohammed  Bosha  Al-Hamoni. 

Dam.  Sultana  Kuhaila  Mugnagia  owned  by  Sheikh  Mohammed  Al-Kellak. 

Sire.  Al-Adhoun  Al-Hundoin  of  great  form  owned  by  Prince  Al-Karaowie  of  Hama. 

Dam.  Ziibaida,  the  Steel  Grey  Mugnagia  which  is  called  Ummulmania,  owned  by 
the  Prince  Durlan,  the  Son  of  the  Prince  of  the  Huzsaina  Bedouins.  Here  comes  Jameel, 
the  above-mentioned  Kuhailan  Mugnagia  without  interruption  or  break.  This  horse 
was  transferred  through  lawful  purchase  from  its  owner  Sheikh  Ahmed  Mustapha  Ef- 
fendi Al-Murtadi  to  his  Excellency  Ahmed  Bey,  the  Son  of  Ahmed  Pasha  Yousif, 
and  from  him  to  his  Highness  Ahmed  Izzet  Pasha  Abed. 

Sure  of  these  facts  and  being  able  to  vouch  for  the  truthfulness  of  the  pedigree  of  this 
horse  in  question,  we  therefore  have  set  our  hands  and  seals  to  this  document. 

Rabia  El  Awal.  320  a.h. 


CAMBRIDGE  •  MASSACHUSETTS 
U  •  S  •  A 


PHOTOGRAVURES  BY 
A.  W.  ELSON  &  CO.  BOSTON 


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